In conducting research for her project, more about Denise Uyehara made the profound discovery: “James Luna is not dead. He just lives on the La Jolla Indian Reservation so people don’t know how to reach him.” Together, cost Uyehara and Luna will revisit Transitions, pilule one of Luna’s early performances in which he unpacked a bag full of “Indian” objects and created new rituals with them. Together they will retell the story of their suburban upbringing through contemporary ritual, narrative, video, disco and surfing music, building a mythological bridge into the unknown.
$10 general admission/$5 students/FREE for LACE members.
*See bottom of page for image credits.
ABOUT THE ARTISTS
Denise Uyehara is an internationally presented performance artist, writer and playwright based in Tucson, Arizona. For over two decades she has investigated memory and what marks the body as it travels across borders of identity by combining narrative, action, found objects, clay animation and video projections on the moving body. She was also a founding member of the Sacred Naked Nature Girls, an experimental, culturally diverse performance collective. A recent recipient of the MAP Fund and the National Performance Network Creation Fund, Uyehara is a pioneering artist whose work the Los Angeles Times hails as “mastery [that] amounts to a coup de theater.” Her recent diptych, Archipelago and the Senkotsu (Mis)Translation Project,re-examine the U.S. occupation in Okinawa, through Native American and Okinawan origin myths and ritual. She holds a B.A. in Comparative Literature from the University of California, Irvine, and an M.F.A. from the Department of World Arts & Cultures from UCLA.
James Luna is a Pooyukitchum/Luiseno Indian and is an enrolled member of the La Jolla Indian Reservation in North County, California, where he currently resides. As a “Rez” resident, he draws from personal experiences and probes emotions surrounding the way people are perceived within and outside of their cultures. An award-winning artist, Luna represented the National Museum of the American Indian in the Venice Biennale in 2005. Luna believes that installation and performance art – in which he employs such media as made and found objects, audio, video and photography – offer an opportunity for Native artists to express themselves without compromise in the Native traditional forms. Luna’s art education at UC Irvine (BFA ’76) included instruction by major California minimal artists. This, coupled with his Masters in Education at San Diego State University (’83), became the foundation of his thirty years of art making in multimedia installation and performance. More at jamesluna.com*Image credits:
Denise Uyehara, Bone Transition, 2010. Photo by Carol Cheh.
12 January – 1 February 2012
“Lacy’s epic civic event Three Weeks in May stood at the forefront of a movement changing the way society viewed sexual violence.” (Cara Baldwin, here
As part of the Getty’s Pacific Standard Time Performance and Public Art Festival (January 19-29, 2012), LACE (Los Angeles Contemporary Exhibitions) presents Three Weeks In January, a new work by Suzanne Lacy with scores of Los Angeles-based partners. Recreating key aspects of Three Weeks in May (1977)—an art project exposing the true incidence of rape in Los Angeles – the work focuses on where Los Angeles is now, thirty years into the anti-rape movement, and how we will end violence against women in the coming decades.
The initial Three Weeks in May project had a forceful political imperative: to bring hidden experiences of gender-based violence to public attention. The project engaged the city and its politicians and media in an examination of how rape impacted Los Angeles women. In its time, it played a radical role in public exposure.
Now, over thirty years later, we can no longer say that rape is unspoken, nor that services and policies do not exist. Yet violence against women remains, locally and globally, with implications more pronounced than ever. This project will mobilize young women, men, and an inter-generational coalition across the region to consider next steps in an ever-increasingly necessary, and prominent, agenda against violence.
Three Weeks in January consists of a Los Angeles Rape Map – a large map, installed in Downtown Los Angeles, on which young women mark, each day, the prior day’s police reports, as well as Critical Conversations — region-wide, multi-vocal events that take place in January at the site of the maps and elsewhere by partnering organizations. As in the original artwork in 1977, we will use art as a platform to organize a series of events, consciousness-raising sessions, and presentations that collectively bring renewed focus and attention to the work to end rape.
Featured events include a mobilization of students at high schools, college campuses, and community organizations to host consciousness-raising conversations and to attend a Candlelight Ceremony on January 27, 2012 at the site of the maps; and Storying Violences – a performance of policy deliberation — by experts in rape prevention and education, legislative advocacy, criminal justice, the media, and direct service delivery.
Co-presented with the City of Los Angeles Department of Cultural Affairs, the Rape Treatment Center, and Otis College of Art and Design.
The Three Weeks in January advisory board includes Gail Abarbanel, Founder and Director, The Rape Treatment Center; Chief Charles Beck, Los Angeles Police Department; Deputy Mayor Eileen Decker; Jodie Evans, Co-Founder, CODEPINK; Olga Garay-English, Executive Director, Department of Cultural Affairs, Los Angeles; Patti Giggans, Executive Director, Peace over Violence; Wendy Greuel, Los Angeles City Controller; Cora Mirakitani, President and CEO of the Center for Cultural Innovation; Councilwoman Jan Perry; Ruth Slaughter, former Vice President of Community Outreach Prevention and Education Programs at PROTOTYPES; Amy Elaine Wakeland, Board Member, Just Detention International; Lisa Watson, Executive Director, Downtown Women’s Center.