The Raw Feed presents work from three artists who explore the issues of globalization and dislocation, focusing on the ways in which we are given sustenance. The project includes an interactive rice factory that examines the politics of grain production and world hunger; a multidisciplinary video installation that takes a critical look at the messages fed to us by the United Nations; and a pop-up café built on a bicycle chassis that connects food with personal narratives of dislocation through a collection of war-time recipes. The act of feeding ourselves has served as the basis of ritual, connection and artistry for as long as we've lived in societies, and The Raw Feed brings together these disparate strands of shared experience in an exploration of what sustenance means.
Super 8 is a collection of video art in multi-channel formats, selected by a peer-to-peer curatorial process. Eight artists from eight cities across the globe were invited to present their videos, and invited four other artists from their respective cities to join them.
Mark Bradford transforms found material – much of it paper from sources such as billboards and newspapers – into large-scale collages and installations. Included in YBCA’s presentation is the large-scale work Detail, an ark-like sculpture reconstructed from components of Mithra, a piece created in response to the devastation caused by Hurricane Katrina. Also on view at YBCA will be Bradford’s socially charged 2011 work, Rat Catcher of Hamelin, which is composed of components of 50 billboards collected from all around South-Central Los Angeles. This comprehensive survey of Bradford’s career to date is co-presented by YBCA and SFMOMA and will be on view at both venues. Please note that there are separate admission policies for each institution.
At the point where long-held beliefs fall into decline and once-esteemed notions crumble, questions arise about those belief systems. It is at this point that John-Mark Ikeda begins his exploration of the current economic climate. Ikeda deconstructs the iconic business suit — which he equates with the failed economy — stripping it down to its component parts and pinning it to the wall like a specimen, with accompanying business accessories, in an attempt to reconstitute it as a symbol of power.
Gina Osterloh’s new film project, Anonymous Front, is a visual essay on physical blindness and identity, created in collaboration with a vocational massage therapy school for the blind in the Philippines.
The rock band on the stage, the athlete on the soccer field, the politician at the podium — all command the attention of huge crowds, not to mention cameras. Audience as Subject, Part 2: Extra Large turns the lens back on the audience, exposing the dramatic and narrative potential of the crowd itself.
TYPO San Francisco 2012
Apr 5, 2012 – Apr 6, 2012
Lam Research Theater at YBCA
Experience Europe’s premier design conference as TYPO comes to the Bay Area and Yerba Buena Center for the Arts April 5-6.
San Francisco is a key location for design. Technology and software development have seamlessly entered the design process with creativity and innovation underpinning the way people are educated, conduct business and think about society. We all connect with the world every day. Good design makes this fun and easy, bad design ruins the experience. Being overly connected can be fulfilling or overwhelming. Disconnecting can be a relief or isolating. And all of this is changing constantly with technology. TYPO San Francisco brings together incredible speakers from both European and American design communities to share their work and insights on what it means to connect.
Join fellow creatives for two days of inspiring presentations and workshops from Michael Bierut, Tina Roth Eisenberg, Khoi Vinh, Neville Brody, Jessica Hische and more.
By Frederic Choffat and Vincent Lowy
In 2009, in a small theater in Geneva, Switzerland, Marcel Ophuls and Jean-Luc Godard met for an intimate and sometimes contentious dialogue in front of a live audience. Luckily for us, it was filmed. Ophuls' film The Sorrow And The Pity triggers Godard to discuss his personal and fragmented childhood memories about his escape to Switzerland during World War II, while Ophuls recalls the controversy surrounding the release of his film in France. Throughout their meeting, the two directors debate about national and ethnic identities, what it means to be Jewish, the role of the director, and auteur theory. (2010, 44 min, digital)
Double feature with John Casavetes by André S. Labarthe
By André S. Labarthe
John Cassavetes, at the dawn of his career, is the subject of this rare portrait. When we first meet him in 1965, he has made three films: the ground-breaking independent Shadows and two disastrous Hollywood projects. While driving a convertible through the canyons of Hollywood he discusses Faces — his response to his Hollywood experience — and we meet the crew and see the start of editing. Three years later, with Faces finally completed, Cassavetes is a different man, more mature and introspective. With Gena Rowlands looking on, he discusses American society, and contrasts Shadows, a film about adolescence and hope, with Faces, a film about middle age and disenchantment. (1969, 50 min, digital)
Double feature with Marcel Opuls and Jean-Luc Godard: The Meeting in St-Gervais by Frederic Choffat and Vincent Lowy.
With music that mocks categories and defies stylistic conventions, Tin Hat is a collective quartet dedicated to the idea that beautiful sounds reside at the crossroads of improvisation and composition. Founded in the mid-90s by a triumvirate of conservatory-trained East Coast transplants, the group has morphed and expanded over the years while retaining its avant-chamber sensibility. Tin Hat is anchored by founders Mark Orton, the guitarist and noted film composer, and violinist Carla Kihlstedt, known for her work with Sleepytime Gorilla Museum, Madeleine Peyroux and Tracy Chapman. Berkeley clarinet master Ben Goldberg and San Francisco accordion ace Rob Reich, who perform widely with the Nice Guy Trio and Gaucho, bring Tin Hat a jolt of improvisational energy. Utilizing a dizzying array of aged, esoteric instruments the band creates a cinematic soundscape, rife with emotion and drama.