Programming (microresidencies and exhibitions) originally planned within the site has been modified in response to current constraints, manifesting a type of continual enactment advocated by the Love’s Remedies framework: making tangible and accessible multi-directional commitments to all participants, from institution to curator, to artist, and back again.
Please note: Due to the Covid-19 pandemic, exhibitions in ArtCenter's galleries are currently unavailable for visits by the public.
March 27 – April 25, 2021
Los Angeles artist Elizabeth Preger brings together local artist collectives under the exhibition Systems of Exchange / Sistemas de Intercambio, pairing a series of vitrines inhabited by local creative communities and reproductions of their archival material and ephemera in a celebration of artist-run networks of support.
The organizations presented feature a diverse, cross-section of artist-run groups in Los Angeles whose aim is to amplify voices in our community and to preserve underrepresented artists who otherwise would be lost to history. Organizations such as the Auntie Sewing Squad, which started as a response to the lack of protective masks available to at risk communities, represent the organic ways in which some initiatives evolve out of necessity and need.
Auntie Sewing Squad
Los Angeles Poverty Department
February 27 – March 21, 2021
Artist Alexandre Saden presents two recent bodies of work, To See a Field and Between Empty Suns, which both attempt to make tangible within the work of art the structures (the metaphorical or imaginative processes) underpinning them. Hence the title Conditions, meant to evoke both the necessary conditions for artistic creation and the conditions, understood as limitations, imposed on artistic creation by the forms it inherits and inhabits. Both bodies of work also use differentiation within a rigid system of rules as their main generative principle: a theater of small differences.
See list of works.
A Group Exhibition curated by Vickie Aravindhan
January 30 - February 19, 2021
Pseudo Mythologies weaves together a myriad of objects, relics, and images in conversation with each other, resulting in alternative “truths”, exploring how mythologies can potentially be “contaminants” in our individual and borrowed histories through hybridization and subjugated knowledge. The exhibition brings together a multidisciplinary group of artists whose practices converge through storytelling and object making derived from varying points of historical, personal and mythological narratives.
Works List and Artists:
In December, multi-disciplinary artist and scenic designer Narges Noroozi creates a window installation exploring how the human psyche recontructs reality into dreams, and vice versa, often in response to the unexpected. Recreating the scene of a recurring dream that the artist has experienced this year, Noroozi utilizes elements of bathroom architecture, water, and soil, investigating ideas of repetition and cleanliness.
Artist Eric Magaña in conversation with Love's Remedies, ArtCenter DTLA Artist-in-Residence.
Reconociendo is a loving and complex meditation by artist Eric Magaña on his relationship to family history and personal identity. Comprised of works in two media, this exhibition uses the persona of Magaña’s deceased grandfather, Martin Barbosa, as a departure point to investigate the interrelation between labor, politics, agriculture, heritage, and Barbosa’s own battle with Alzheimers.
In the photo series Reconociendo A Martín Y La Mora, Magaña inhabits his grandfather’s land and identity, using his own body as an intermediary between past and present, inheritance and belonging. Adobe House, constructed with adobe bricks Magaña has made from historically indigenous earth, he recreates a version of the ruins of his mother’s adobe house located in Jalisco, Mexico. Left without maintenance since 1975, this house and its partial remembrance in this installation represent a recognition of the ties between Magaña’s life in Norwalk, CA, his family history in Jalisco, and the effects of displacement and colonization on connected narratives and the perpetuation of both tradition and memory.
Founded by Los Angeles artists BRD (Bridget Rosalia Driessen) and Hannah Kim Varamini, Love’s Remedies focuses on building community through attention as material and supporting non-hierarchical interactions based on the premise of “nesting” into an institution. Love’s Remedies is current artist-in-residence at ArtCenter DTLA.
In February, I had a chance midnight encounter with a pair of shrieking raccoons. These animals are foragers: resourceful, disguised and cunning. They make do with less. Such qualities remind me of the artists I sought for this exhibition—artists creating in and against a plastic, Technicolor, gizmo-crazed world that makes visual artwork seem both superfluous and urgently necessary. Like the raccoons who forage in our cities at night, these artists make leftovers into life.
Some of the artists in the exhibition work directly with consumer materials and products, while others embody the perspective of an outsider who is nevertheless part of the ecosystem. The works peer into a world that appears fully formed, sifting through its garbage, and highlighting how desire and sustenance can be nefariously mediated but also understood—perhaps even cherished.
Beth Fiedorek, artist and curator