The University of California Institute for Research in the Arts supports embedded arts research through critical exchange

UC San Diego University Art Gallery Presents Timing is Everything Exhibition

Timing is Everything

Dates: October 3 – December 6
Opening Reception: October 3, 5:30 – 8:30pm

Location: University Art Gallery, Mandeville Center, UC San Diego

Timing is Everything is an exhibition that explores the ways that built space situates us in time through phases of a conversation between moving images, photographs, and text.

Over the course of eight weeks, an exhibition of video installations by Charles G. Miller (10/3 – 10/17), Hong-An Truong & Dwayne Dixon (10/18 – 10/31), Cauleen Smith (11/1 – 11/14), and Uriel Orlow (11/15 – 12/6) will rotate in and out of the gallery in conversation with The Exhibition of a Necessary Incompleteness, a constant exhibition of photos, text, and videos by Joseph Redwood-Martinez and essay contributions by Ayala Levin, Alexandru Balasescu, and Demilit.

Initiating this conversation, Redwood-Martinez investigates the broader implications of deliberately postponed construction: inhabited buildings continually in the process of becoming. His project thus provokes alternate understandings and experiences of time, in space that is always being built. If conditions of past, present, and future become less distinct, how does this affect our notions of history – “time” in the collective singular?

In conversation with the questions raised by Redwood-Martinez’s project, Timing is Everything introduces four video installations as epistemological tools with which to examine other instances of architecture and corresponding notions of time, memory, and history. As another medium that constructs space and the only experience where time is given as a perception, moving images act as apt poetic interlocutors.

Hidden in Plain Sight: La Jolla/UTC Annex, An-Edge City (2013), a video essay by Charles G. Miller, first challenges our familiarity of the built space around us, specifically the region of north San Diego surrounding the University Art Gallery. Moments of rupture and periods of inhospitable duration betray the placid appearance of a ubiquitous landscape of spacious corporate parks, shopping malls, and multi-lane roads. The City and The City (2010), a dual-channel video installation by Hong-An Truong and Dwayne Dixon, attempts to register the deep archaeology of Asia’s urbanism and post-colonial histories by assembling and disassembling fragments of two “modern” cities: Saigon and Tokyo. Remote Viewing (2010) and The Grid (2011), two films presented simultaneously by Cauleen Smith, unsettle the safe distance of the past through re-enactments and reconstructions of traumatic spaces and events in sites “under construction.” Remnants of the Future / Plans for the Past (2010-12), a dual-channel video installation by Uriel Orlow, projects the everyday of two cities, as latent spectral twins, extracting the shared unrealized futures and histories of it inhabitants from the crevices, surfaces, and seemingly hollow spaces of the present.

The premiere of each video installation will be accompanied by a breakfast reception and public program with the artists and their guests with various backgrounds in architecture, urbanism, sound, philosophy, and archaeology. See Upcoming Events below for more information.

Joseph Redwood-Martinez is an artist, writer, and filmmaker from the United States. His writing has appeared in Frieze, Modern Painters, and The Huffington Post. A first book of poetry, event statements, was published in April 2011 by Publication Studio. A forthcoming book of essays, neo-provincialism, will be released in 2014. He has shown work and curated programs in Sweden, Germany, Turkey, the UK, India, and the United States. In 2011-2012, he was a curatorial fellow at SALT in Istanbul. His first feature-length film, One day, everything will be free, was released in 2013.

Charles G. Miller is a multimedia artist and educator based in San Diego. His multi-format projects, incorporating video, photography, installation, and intervention, work to develop novel frameworks and methodologies for critically exploring, representing, and understanding contemporary urban landscapes. He was a principal collaborator with The Periscope Project in San Diego (2010-13), and previously with campbaltimore in Baltimore, Maryland (2005-6). He earned an MFA from the University of California, San Diego in 2010. He has exhibited widely, and initiated site-specific projects in Baltimore, New York, San Diego, and Los Angeles.

Hong-An Truong is a graduate of the Whitney Museum Independent Study program and received her MFA from the University of California, Irvine. Experimental pedagogical collaborations include Rehearsal for Education with students at Laguardia Community College, NY (2010), and Acting the Words is Enacting the Worlds with Huong Ngo and students at EFA Project Space, NY (2011). Her work has been shown at Art in General, NY (2009), PAVILION, Bucharest (2010); the ICP, NY (2010), and Smack Mellon, Brooklyn (2013), among other venues. She is the recipient of an Art Matters Foundation Grant (2012), a Jerome Fellowship at Franconia Sculpture Park (2013), and a Socrates Sculpture Park EAF (2013).

Dwayne Dixon is a PhD. candidate in the Dept. of Cultural Anthropology at Duke University where he is completing his dissertation on young people in Tokyo and their relations to urban space, changing economic conditions, and visual technologies. His research is intertextual, including extensive ethnographic video along with traditional scholarly writing, presented together in digital form. In 2011 he wrote and directed a web video series on the ethics of fieldwork produced by Duke University. His writing has been published in The Journal of Postmodern Culture and is forthcoming in Pastelegram. His photographic and video works have been exhibited in NYC, North Carolina, and California.

Cauleen Smith has produced multi-channel film and video installations that incorporate sculptural objects and text. Her interests roam from her roots in structuralist filmmaking to afro-futurist narrative strategies. Currently, Smith is producing a series of films, objects, and events that explore the psychogeography of American cities in which the intersection of black cultural production and the urban landscape created significant and global musical innovation. She received her B.A. from the School of Creative Arts at San Francisco State University and her M.F.A. from UCLA School of Theater-Television-Film. Smith lives and works in Chicago, Illinois.

Uriel Orlow is known for his modular, multi-media installations that focus on specific locations and micro-histories and bring different image-regimes and narrative modes into correspondence. His work is concerned with spatial manifestations of memory, blind spots of representation and forms of haunting. Recent exhibitions include Bergen Assembly (2013), Aichi Triennale (2013), Nouvelles Vagues, Palais de Tokyo, Paris (2013), Unmade Film, Al-Ma’mal, Jerusalem, Centre Culturel Suisse, Paris and Les Complices*, Zurich (2013), Manifesta 9 (2012), Chewing the Scenery, 54th Venice Biennale (2011), 8th Mercosul Biennial (2011), and 3rd Guangzhou Triennial (2008). Orlow is a senior research fellow at University of Westminster London.

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