Coulisse Effect


Co-programmed with Josephine Shokrian
Thursday, March 26, 2015
Haeler Echo, New York

Featuring Trisha Baga, Math Bass, Dominique Hurth, Sara Magenheimer, Shana Moulton and Alina Tenser, with a sound piece by Liz Magic Laser and Rachel Mason


Haeler Echo is a live|work initiative in the Lower East Side, NY. Acting as a conduit for encounters and exchange across disciplines and within various fields of work, each season draws on a broad network of collaborators and participants for collective inquiry.

Math Bass, Curtain Pedestal (still), 2012

Coulisse Effect charts the return of the object in performance and cinematic work. Exploring the ways in which performance is utilized to activate, move, narrate, or animate objects, this program questions the particular status of the object’s performance in video.

The “coulisse effect” refers to a technique of depth-production in the filmic image through the juxtaposition of successive planes of colored strips or curtain-like elements. Drawing attention both to the flatness of the image and the space between objects and images, the coulisse effect serves as a starting point for our consideration of the relationships between the body, the viewer, and the sculptural object.

A coulisse is also a side scene, or backstage. It constitutes a site of dissimulated action. Works in this program reflect on or illustrate the following proposition: that the subject must at times disappear, move to the sideline, become voiceover, render itself immaterial, or make itself into a vessel, image, or object, to open up a space for the object to perform.

Coulisse Effect is the fourth in a series of events focusing on performance modalities within economies of (im)materiality, labor, and language.

Special thanks to Overduin & Co, Lisa Cooley, ESP TV, Gus Callahan, Lazar Bozic, and Lulu Wolf. All works courtesy of the artists.

Presented as part of Haeler Echo | Season No. 1
Limited Run: Performance Economies


This season examines performance economies through a specific focus on limited-scale circulation and presentation, questions of cultural and institutional memory, immateriality, and experience. Projects by Megha Barnabas and Glasser, L’Abominable, and Anne Breinmaier will be featured, along with a roundtable discussion, and screening of performance in video work Coulisse Effect featuring the work of Trisha Baga, Math Bass, Dominique Hurth, Liz Magic Laser and Rachel Mason, Shana Moulton, and Alina Tenser.



Program

VOCAL BOOTH

Liz Magic Laser and Rachel Mason
Hi There!, 2015Audio installation. Four channel loop. 4:13 min.
Hi There! was first exhibited at Various Small Fires in Los Angeles (2015) alongside prop elements and sculptures created for the works The Thought Leader and My Mind is My Own. The four-channel audio piece relates mantras culled from each video’s script, which take respectively after the motivational speeches of TED Talks and the vocal exercises performed to produce instructional videos.

SCREENING

Dominique Hurth
the problem of serial order in behavior, 2014
Filmed installation. 5:39 min.
the problem of serial order in behavior is an installation recorded by a video camera, focusing on how the images (and the frame of the camera) move the objects. The installation subjectively quotes the “visual cliff apparatus,” a classic paradigm in science, dealing with three-dimensionality and depth perception. Focusing on an instance of social conditioning where the voice (in the case of this experiment, that of an infant’s mother) becomes the internal voice that cannot be silenced. The green screen emphasizes the graphical perception and visual trick of the abstracted installation. The film comprises two identical takes, one without textual information, and the other, with voice over referencing exercises in depth perception.

Alina Tenser
Reliefs, 2011
Digital video. Single channel loop. 1:42 min.
Alina Tenser’s videos and sculptures investigate issues of autonomy and dependence, performative aspects of objects, and formal aspects of the body. Developing “performative objects” for her videos, Tenser reveals, through their form, the articulation of a body’s movement.

Shana Moulton
The Undiscovered Drawer, 2013
HD video, sound. 9:50 min.
In The Undiscovered Drawer, a closed door prevents Cynthia, an alter ego played by the artist, from leaving her room. Moulton sets her in a psychedelic, pastel-coloured interior, replete with objects manipulated into life.

Alina Tenser
Locating Catch and Shake, 2013
Digital video. Single channel loop. 5:12 min.
Using green screen as a material rather than an effect, Tenser rotates a large tray atop her reclined body in an attempt to catch and group together the performative objects floating above.

Dominique Hurth
the problem of serial order in behavior, 2014
Filmed installation with voiceover. 5:39 min.

Math Bass
Sticks, 2011
Digital video. 2:47 min.
The screen is revealed, pulls away from itself, multiplies and then falls down. InSticks, performance directing the movement of wooden stick takes place off screen, outside the frame. With the body on the sideline, the subject becomes the object, which never fully reveals its own making. The video uses a simplified formal language, amplified by minimal, isolated sounds, that converge and cross each other on overlapping layers, just as the sticks pass over and under each other on multiple planes.

Trisha Baga
Flatlands 3D, 2010
3D video installation. 16:49 min.
Flatlands 3D tracks an individual as she navigates the collapse between her own interior space and a landscape of simulation. The video’s environment pulsates, and oscillates between reality, animation, and simulation, between the analogous and the digital. Recalling Edwin Abbott’s short story Flatland: A Romance of Many Dimensions, Baga’s work moves beyond a world of flat two dimensional surfaces, similar to the rectangle of the screen, and extends into something that could be regarded in spatial terms.

Sara Magenheimer
Seven Signs that Mean Silence, 2013
HD video, sound. 11:03 min.
Seven Signs that Mean Silence is a script written by Magenheimer and performed by two computer voices, Paul and Veena. As the voices fill the screen with symbols, letters, words, images, and objects, they shape and qualify both the empty space and image content of the work. Language and sound become, at times, solvent vessels for cognitive content, but also break down into unintelligible utterances: sound objects displaying their base material. These basic language shapes are re-formed into words, as the artist’s voice interjects an excerpt of Fred Neil’s “Everybody’s Talkin” and Veena reads part of a Gherasim Luca poem, “Dream in Action.”

Math Bass
Curtain Pedestal, 2012
Digital video. 03:13 min.
A curtain in the background becomes animated by the movement of a hidden body behind it, while a rectangular pedestal stands in the foreground. As the curtain is slowly drawn, background and foreground are collapsed.  

Artists

Trisha Baga (b. 1985, Venice, FL) lives and works in New York. She received her BFA at Cooper Union in 2007 and her MFA at Bard College in 2010. Recent solo exhibitions include Zabludowicz Collection, London (2014); Gio Marconi, Milan (2014); Peep-Hole, Milan (2013); Société, Berlin (2013); Whitney Museum of American Art, New York (2012); Kunstverein Munich (2011); and Greene Naftali, New York (2011).

Math Bass (b. 1981, Long Island, NY) lives and works in Los Angeles. Bass received a BFA from Hampshire College, Amherst, MA and her MFA from UCLA. CA. Bass’s work has been included in exhibitions at Overduin & Co, Los Angeles (2014); Thomas Duncan Gallery, Los Angeles (2013); the Hammer Museum’s biennial “Made in LA” (2012); Lora Reynolds Gallery, Austin (2012); Leo Koening Inc. Projekte, New York (2009); Yerba Buena Center for the Arts, San Francisco (2009).

Dominique Hurth (b. 1985, Colmar, France) lives and works in Berlin, Germany and Bergen, Norway. She received a BFA from Saint Martin’s School of Art, London, an MA from UdK, Berlin, and an MFA from the École Nationale Supérieure des Beaux Arts, Paris. Recent projects include group shows at Palais de Tokyo, Paris; Fundacio Tapies, Barcelona; Villa Oppenheim – Museum Charlottenburg, Berlin; Tiroler Kunstpavillon, Innsbruck; LOOK 13 – Liverpool International Photography Festival; MAMO – Cité Radieuse, Marseille; Hordaland Art Centre, Bergen; solo shows at Souterrain and clockwork gallery Berlin; Künstlerhaus Büchsenhausen, Innsbruck; a commissioned work on the Ku’Damm, Berlin, and a series of readings in Marseille, Rotterdam, Innsbruck, Paris and Berlin.

Sara Magenheimer (b. 1981, Philadelphia, PA) is an artist based in Brooklyn and upstate New York. She earned her BFA at School of the Museum of Fine Arts, Boston, and her MFA at Bard College, New York. Recent exhibitions include; Document, IL, Chapter, NY, 247365, NY, Cleopatra’s, NY. Recent screenings include; The New York Film Festival, The Kitchen, Brooklyn Academy of Music, Cave, SiteWork, MOMA Portland, The Living Art Museum, Reykjavik, and Meet Factory, Prague. Recent performances include; Recess, MOMA P.S.1, Issue Project Room, Canada Gallery, and the Performa 13 Biennial. Her collaborative project, Bloopers, received commissions from Triple Canopy and EMPAC at Rensselaer Polytechnic Institute.

Shana Moulton (b. 1976, Oakhurst, CA) lives and works in New York and Münster, Germany. She earned a BFA from the University of California, Berkeley and an MFA from Carnegie Mellon University. Most recently Moulton has had solo exhibitions at Gimpel Fils, London (2014); Project Space 1646, the Hague, the Netherlands (2014); Braverman Gallery, Tel Aviv (2014); Nieuwe Vide, Haarlem, the Netherlands, (2014); La Mama Galleria, New York (2014); Smack Mellon, Brooklyn (2013); Fondazione Morra Greco, Naples, Italy (2013); and Galerie Crevecoeur, Paris (2013). She has performed at the J. Paul Getty Museum, Los Angeles (2014); the Andy Warhol Museum, Pittsburgh (2013); Performa 13, New York (2013); Western Front, Vancouver, Canada (2013); the San Francisco Museum of Modern Art (2012); Palais de Tokyo, Paris (2012); the New Museum, New York (2011); the Kitchen, New York (2010); and Exit Art, New York (2010).

Liz Magic Laser (b. 1981, New York) lives and works in Brooklyn. She earned a BA from Wesleyan University (2003) and an MFA from Columbia University (2008). She attended the Skowhegan School of Painting & Sculpture (2008) and the Whitney Museum Independent Study Program (2009). Most recently, her work was the subject of solo exhibitions at Paula Cooper Gallery, New York (2013) the Westfälischer Kunstverein, Münster, Germany (2013); DiverseWorks, Houston, Texas (2013) and Mälmo Konsthall, Mälmo, Sweden (2012). Her work has also been exhibited at Lisson Gallery, London (2013); the Moscow Museum of Modern Art (2012); Various Small Fires, Los Angeles (2012); The Studio Museum in Harlem, New York (2012); the Performa 11 Biennial, New York (2011); The Pace Gallery, New York (2011); the Biennial of Graphic Arts, Ljubljana, Slovenia (2011); and MoMA PS 1, New York (2010).

Rachel Mason (b. Los Angeles) lives and works in New York. She holds an MFA in Sculpture from Yale University. Her work has been shown at several institutions, including the Detroit Museum of Contemporary Art; School of the Art Institute, Chicago; Henry Gallery, Seattle; James Gallery at CUNY, New York; University Art Museum, Buffalo; SculptureCenter; Hessel Museum of Art at Bard; and Occidental College. She has performed at the Kunsthalle Zurich, Museum of Contemporary Art Detroit, The New Museum, Park Avenue Armory, Art in General, La Mama, Galapagos, Dixon Place, and the Experimental Media and Performing Arts Center, in Troy. Mason is currently in post-production on a feature-length film called The Lives of Hamilton Fish.

Alina Tenser (b. 1981, Kiev, Ukraine ) lives and works in New York. She holds a BFA from the School of Visual Art, New York and an MFA from Virginia Commonwealth University, Richmond, VA. Recent exhibitions include The Kitchen, New York (2015); Essex Flowers, New York (2014); Nurture Art, Brooklyn (2013), The Suburban, Chicago (2013); and Pioneer Works, Brooklyn (2013). Her work has been included in group exhibitions at the Elizabeth Art Foundation, New York (2014); Jancar Jones, Los Angeles (2013); Laurel Gitlen Gallery, New York (2013); and Bul and Ram, New York (2013).