Temporary artwork, however, may be a step towards avoiding creating irreversible change in at-risk neighborhoods. Many outsiders view art galleries as the harbingers of new money, gentrification, and displacement. ![]() Materials Applications, “From Above Looking Down” (image courtesy Materials Applications) Los Angeles gives the illusion of an uninhabited oasis cultivated by the Broads and the Tapers instead of the Tongva who lived on the land centuries before. “I think it’s important for people to interrogate what that ever meant.” Hoke was touching upon the city’s early 20 th -century transformation from orange groves into a booming metropolis, a city willed into existence by real estate moguls who attracted wealthy transplants based on the land’s speculated value rather than its physical development. “For a long time, the idea of LA was of an open space,” Hoke said. The Los Angeles skyline, dotted with steel cranes, hints at a history unfolding while these artistic endeavors slowly evaporate from the city’s cultural conscious. It could refer to a place or a person, but mostly it points to an entity that’s restless, liminal, and fluid. According to Rendell, “a place between” is a triangulation of ever-changing spatial, temporal, and social qualities. With frequent turnover, the city feels like “a place between,” a phrase coined by the theorist and architect Jane Rendell in her 2003 essay on art, architecture and critical theory. These ephemeral events play into the myth that Los Angeles is a place without history. This past April, Docent took place at the Pasadena Museum of California Art, which will be shuttering this fall. In 2015, they collaborated with Machine Project, a beloved alternative art space that closed its doors in January. In its seven-year history, Enter>Text has staged events in three locations that no longer exist their first shows were in a converted warehouse in Cypress Park inhabited by CalArts alumni, where co-founders Henry Hoke and Marco Franco Di Dominico met. ![]() Many artists are adapting to Los Angeles’s perpetual transformation, which is fueled by commercialization, development, gentrification, and financial interests. Those precious memories feel all the more important in a city always in a state of flux. ![]() A year and a half later, the show lives on with brief snapshots on homeLA and Enter>Text’s web archives and in the faint memories of the 100 or so attendees who were lucky enough to catch the moment.Įnter>Text, “Kate Durbin at Entertext In the Air” (photo by Mark Bernal) The event would never be performed again once the show finished its six-hour run. Guests roamed around, discovering art installations, dance, literature, and sound performances in all corners of the property. For one night only, One House Twice, curated by the dance project homeLA and live literary journal Enter>Text, opened the by-appointment-only institution to the public. ![]() In the corner of the room, another performer plucks a book from the shelf and begins reading seemingly to no one, despite the dancers in her orbit and a steady flow of onlookers absorbing the late architect Richard Neutra’s former home. LOS ANGELES - Inside the historic Neutra VDL House on Silver Lake Boulevard, two dancers fold themselves over midcentury modern furniture. Enter>Text, homeLA, “Erin Schneider, Emily Meister and Gema Galiana at Entertext & homeLA in One House Twice (photo by Andrew Mandinach)
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