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.
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
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.
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.
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.