Artist-in-Residence, Screening
FLAX Project

Drive-In Theater

Discovering the city of LA takes long hours of driving. Many writers compared the windshield of a car to a screen. All surroundings are seen through this lens. It seems like a very natural phenomenon and is formative in our experiences of Los Angeles and California. This is an important point of view in the process of discovering the city, in a very cinematographic way.

During the program developed by FLAX @ Tin Flats, a series of screenings will take place in the parking lot which will be transformed into a drive-in theater. Each week, an artist is invited to choose one of his/her films and a film of his/her choice – a feature, a documentary, another artist’s video – echoing his/her work. From influence to dissonance, these double features allow us to continue the discussions started in the exhibition space.

Click on each date to book. Tickets will be released two weeks prior each screening.
Complimentary popcorn and iced tea.

 

Monday, September 24 & Tuesday, September 25 
Doors open at 7pm. Screening starts at 7:30pm
A selection of artists’ videos by Marnie Weber

Marnie Weber, Sea of Silence, 2009 (16:12 min)
The Spirit Girls speak through their ventriloquist dummy doppelgangers. They perform their act in a nightclub full of crude and unruly animal patrons, then seek emancipation in the open sea. 

Jennifer Lane, Fawn, 2003 (4:08 min) 
A nude, androgynous woman and a wild deer engage in a subtle pas de deux in the rigidly designed interior of a suburban house.

Marnie Weber, Destiny and Blow up Friends, 1995 (6:25 min) 
Filmed at the Salton Sea, which is a large dying, polluted salt lake in California. “Destiny” is a sailor who finds herself without a boat in a dry wasteland. She sets out on a journey through the surreal landscape while blow-up animals follow and cling to her as she bravely shoulders the responsibility of being their caretaker. Tragically the blow-up animals mysteriously deflate and “Destiny” takes them on their final journey in a boat called “Fate” to the sea.

Daniel Hawkins, Desert Lighthouse, 2018 (circa 40 min) 
Desert Lighthouse is a full-size functioning lighthouse in the Mojave Desert near Hinkley, CA . Built by artist Daniel Hawkins, the lighthouse first began navigational operation in July 2017.

 

Monday, October 1 & Tuesday, October 2
Doors open at 7pm. Screening starts at 7:30pm
Sarah Rara, Alias, 2018 and Chantal Akerman, Beyond the Body: Orlando presents Chantal Akerman ‘One Day Pina Asked’, 1989 (57 min)

For Alias, Rara focuses on a characteristic distortion of sampled images—Aliasing—where one grid fails to cleanly capture another, and separate entities become indistinguishable. One form ingesting another, a parasite larger than its host: Alias is a story about solar energy, ruined by observation.

An encounter between two of the most remarkable women artists of the 20th century, ONE DAY PINA ASKED… is Chantal Akerman’s look at the work of choreographer Pina Bausch and her Wuppertal, Germany-based dance company. “This film is more than a documentary on Pina Bausch,” a narrator announces at the outset, “it is a journey through her world, through her unwavering quest for love.” Bausch, who died in 2009, was one of the most significant figures of modern dance, and the pioneer of a unique style drawn from the German theatrical dance tradition known as tanztheater. Her striking dances and elaborate stagings explored personal memory and the relationships between men and women, among other things, through a mixture of movement, monologue and narrative elements that drew upon explosive, often painful emotions. Capturing the company’s rehearsals and performances over a five-week European tour, Akerman takes us inside their process. She interviews members of the company, who Bausch chose not only for their talents, but for certain intangible personal qualities as well. The dancers describe the development of various dances, and the way that Bausch calls upon them to supply autobiographical details around which the performances were frequently built.

 

Monday, October 8 & Tuesday, October 9
Doors open at 7pm. Screening starts at 7:30pm

Alison O’Daniel, The Tuba Thieves: Scenes 9A, 11, 23B, 37, 42, 54, 56 – The Drums, 2018 (20 min) and Charles Atlas, Hail the new puritain, 1985-1986 (85 min)

Alison O’Daniel’s The Tuba Thieves, composed of film installations, sculptures, and performances, started after the artist learned about a spate of tuba thefts from a number of high school marching bands in Los Angeles. O’Daniel, whose binaural hearing loss requires her to wear hearing aids and lip read, saw the removal of this tonally rich instrument from the band as analogous to her daily experience of missing parts of conversations and having to fill in the gaps. She built her project “backwards”, inviting three composers to create scores which informed the narrative of the screenplay. The Tuba Thieves is a slowly unfolding feature-length film produced and presented in fragments since 2013.  Scenes are produced out of order and presented as a series of related, short films with missing information so the hearing audience participation mirrors Deaf and hard of hearing experience. The scenes refer to the original thefts and several fictionalized narratives, many featuring deaf drummer and performer Nyke Prince. The film also revisits two historically significant concerts: the premiere of John Cage’s highly influential composition 4’33” in Woodstock, New York, in 1952, and a punk concert at San Francisco’s now defunct Deaf Club, in 1979.

The Tuba Thieves: Scenes 9A, 11, 23B, 37, 42, 54, 56 – The Drums was shot in the dressing rooms of John Ahmanson Ford Theatres last February, for the FLAX Project The Dialectic of the Stars. In this scene, Nyke Prince is not one but many with her many reflections on the mirrored walls. She is practicing on golden drums, imitating movements from Youtube video. Time passes. Days go by. We see and hear her process of learning, mastering the instrument, feeling the vibrations of the drums.

Exhuberant and witty, Hail the New Puritan is a simulated day-in-the-life “docufantasy” starring the British dance celebrity Michael Clark. Atlas’ fictive portrait of the charismatic choreographer serves as a vivid invocation of the studied decadence of the 1980s post-punk London subculture. Contriving a faux cinema-verite format in which to stage his stylized fiction, Atlas seamlessly integrates Clark’s extraordinary dance performances into the docu-narrative flow. Focusing on Clark’s flamboyantly postured eroticism and the artifice of his provocative balletic performances, Atlas posits the dance as a physical manifestation of Clark’s psychology. From the surreal opening dream sequence to the final solo dance, Clark’s milieu of fashion, clubs and music signifies for Atlas “a time capsule of a certain period and context in London that’s now gone.”

 

Monday, October 15 & Tuesday, October 16
Doors open at 7pm. Screening starts at 7:30pm

Rafaela Lopez, Etat d’âme State of the Mind, 2015 (17:27 min) and Claude Nuridsany and Marie Perennou, Microcosmos: People of the grass, 1997 (77 min)

Etat d’âme, State of the Mind is a film project directed by artist Rafaela Lopez. The film combines both fiction and documentary genres as well as employing the structure of reality TV shows. “Etats d’âme” is a French expression without an accurate English translation. The translation would be situated somewhere between the literal translations “state of mind” and “state of soul”. However, “state of the mind” is not a synonym or translation of “états d’ame”. It is a subtitle that raises the game of relationship between the expression’s nuances of meanings, between intuition and conception. Etat d’âme, State of the Mind, follows the lives of a group of sculptures, made by artists from the Royal College of Art. Although the artists feature in the film, it is the sculptures which are conducting a daily retrospective, metaphysical and reflective speech upon their own existence. 

Microcosmos is a fascinating documentary offering a unique look into the daily dramas played out amongst the tiny residents of a French country meadow. It is shot without dialogue and begins with an aerial view of the meadow and then drops wildly down amongst the herbs and soil of the meadow where the stage is set. Using specially designed cameras and lighting equipment, the filmmakers Claude Nuridsany and Marie Perennou spent three years creating this single day. Utilizing astounding close ups, they give the viewer a bug’s eye view where water drops are the size of planets, and grass blades become alien skyscrapers. At this level, the bugs themselves take on an unearthly appearance, as if they were the giants, not us. The film is suitable for families and features an eclectic soundtrack with numbers ranging from opera to New Age music to high-light the action.

 

Monday, October 22 & Tuesday, October 23
Doors open at 7pm. Screening starts at 7:30pm

Brognon Rollin, Stone Clock, Sailing Time, 2016 (05:17 min) and Gus Van Sant, Gerry, 2002 (103 min)

Brognon Rollin explores the mystery of moving stones in the heart of an old dry lake, the Racetrack Playa, located in Death Valley National Park in California. The area is arid but under the combined effect of the freezing temperatures at night and the wind, huge stones move. It is absolutely imperceptible to the naked eye, but the lines furrowing the site show these displacements which have been considered the results of a supernatural intervention for a long time. The artists are filmed following the tracks – one step per second, per minute, per hour – in the opposite direction of the invisible, but inexorable journey of the stone. The perceptible movement of time becomes invisible and then disappears in the distance.

In Gerry, two young friends who call each other “Gerry” drive off into the wilderness to hike in a remote area. After losing their way in the forbiddingly beautiful terrain, they rely on humor and confidence to propel them forward. But when the gravity of their situation takes hold, their strength and prospects for survival wane as the two men face the ultimate test.

 

Monday, October 29 & Tuesday, October 30
Doors open at 7pm. Screening starts at 7.30pm

Clément Cogitore, The Evil Eye, 2018 and Paul Morrissey, Trash, 1970

The evil eye is made up of stock footage from image libraries (Getty, Shutterstock…) shot for advertising purposes. The clipped and chaotic montage film shows a range of humanity – mainly female – going about various activities before a green screen background or in different locations throughout the world, lyrically and suggestively back-lit against a backdrop of continual commercial bliss. A woman’s voice guides the strange saga in the form of a letter addressed to an absent beloved. The voice is captive in a world where matter has disappeared, passing from fear to melancholy to incantation to fury. This video will be presented at the Centre Pompidou in Paris in the fall for the Duchamp Prize exhibition.

“The story of Joe [Dallesandro] and his lover-protector, Holly [Woodlawn], who is something to behold, a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more like Phil Silvers. Joe and Holly try to make a go of things in their Lower East Side basement, from which Holly goes forth from time to time to cruise the Fillmore East and to scavenge garbage cans, while Joe’s journeys are in search of real junk… Trash is true-blue movie-making, funny and vivid. Written and directed by Paul Morrissey, “presented” by Andy Warhol.” Vincent Canby, The New York Times.

 

Monday, November 5 & Tuesday, November 6
Arash Nassiri selected a series of his own work inspired by the car environment of our cities. His videos not only take cars as their topic but reveal the position of this object as a fetish and a symbol. He chose to build his screening program with his videos, a video by Claude Lelouche (8 minutes) and Crash by David Cronenberg (100 minutes).

In Tune Tracks (1m30s each), Arash Nassiri draws portraits of young people in Istanbul customizing their car, listening to their favorite songs opens up the discussion about the car as a fetish. The screening will then open with Abracadabra (3 minutes) which shows burns made by a car on a parking lot.

The program will continue with special footage by Claude Lelouche, C’était un rendez-vous, 1976. With a spare film, he tied up a camera to a car and brings us to a unique ride in the streets of Paris (8 minutes).

Lovelock (7 minutes) is a reenactment of the OJ Simpson chase, played by actors in a studio.

The short video selection will be followed by the screening of Crash, by David Cronenberg, based on JG Ballard novel.

 

Monday, November 12 & Tuesday, November 13
Simon Ripoll-Hurier, Diana, 2017 (48 min) and Blow Out by Brian de Palma (107 min).

Diana is a gallery of portraits of amateurs. Some talk to birds, some to ghosts, and some stack radios and stand up antennas to contact each other around the globe. All of them keep an ear out, listening to the noise of the world.

In Blow Out, a movie sound recordist accidentally records the evidence that proves that a car accident was actually murder and consequently finds himself in danger.

 

Monday, November 26 & Tuesday, November 27
Silvia Kolboswki, After Hiroshima mon amour, 2008 (22 min) and Alain Resnais, Hiroshima mon amour, 1959 (90 min)

Developed over a three-year period (2005-2008), After Hiroshima Mon Amour was begun with the intention to look at sites of American military incursion and governmental neglect through the lens of the celebrated 1959 film Hiroshima mon amour, directed by Alain Resnais and written by Marguerite Duras. After Hiroshima Mon Amour uses various visual and aural strategies to layer and analyze instances of violence and trauma. Titles, silence, brief sync sound, and music are used to create a new story out of an old one. The allegorical couple of the 1959 film is played by ten interconnecting actors who blur distinctions of ethnicity, race, and gender, undermining the categories that are often used to rationalize violence. And as in the Resnais/Duras film, eroticism and violence are interwoven. Various scenes in black and white are faithfully recreated from Hiroshima mon amour. 

In Hiroshima mon amour, a French actress filming an anti-war film in Hiroshima has an affair with a married Japanese architect as they share their differing perspectives on war.

 

PAST SCREENINGS

Monday, September 10 & Tuesday, September 11
Les Anges, 2017 (13:20min) by Lola Gonzàlez who chose to pair her video with The Hawks and the Sparrows, 1966 (88 min) by Pasolini.

In Les Anges, two characters, two men moving like animals, are transformed by their journey through urban and natural landscapes and by their encounter with a stranger who will teach them how to apprehend their environment in another way. This video was produced by FLAX during Lola Gonzàlez’ residency in 2017.

The Hawks and the Sparrows follow the journey of Innocenti Totò and his son Innocenti Ninetto who are drifting on a road in Italy, when they meet a Marxist speaking crow. The trio travels together in a long journey as their hunger increases.

 

Monday, September 17 & Tuesday, September 18 at 7pm
Etienne de France, Looking for the Perfect Landscape, 2017 (46:12 min) and Victor Masayesva, Itam Hakim, Hopiit, 1984 (58 min)

Etienne de France’s video features Jamahke, a young Mohave artist who works for the Colorado River Indian Tribe Museum in Parker, Arizona. Skate lover and creative person, he carries and perpetuates an important heritage by learning and practicing traditional Bird Songs, which constitute spiritual maps and journeys through Mohave ancestral lands. One day, Jamahke is hired by a film production company to scout for landscape and locations for a period feature film, taking place in Mohave aboriginal territory.

The critically acclaimed Itam Hakim Hopiit was produced in the Hopi language and subtitled in English. Of this poetic visualization of Hopi philosophy and prophesy, Michael Renov writes: “ …The film offers a cultural bridge of a very different kind, evoking a culture and an environment through the look and sound of it and the fluidly majestic pace of its unfolding…to impart the drama of distant rainstorms across desert landscapes or cause one to gasp in astonishment at the rainbow that enters the frame during a revelatory pan, for indeed the lyricism of Masayesva Jr.’s imagery and the tone of reverence for the earth, whose caretakers the Hopi consider themselves to be, has the power to transport the viewer. It is the achievement of Masayesva Jr.’s work that even the most committed interpreters among us stand to be converted, if only for a moment, and taught the quiet virtues of observation.”

 

NYA TEA is the Official Iced Tea of The Drive-In Theater

The FLAX Projects are supported, in part, by the FLAX Creative Circle including The Skylark Foundation, Arthur W. Forney, Olga Garay English, John-Mark Horton, and Katharina and Thierry Leduc.

FLAX is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.