Blog

  • Left Eye Cinema: 24 City

    24 City.jpg San Francisco Democratic Socialists of America  Jia Zhangke’s masterpiece 24 City 
    24 City twists documentary and fiction together through oral histories of three generations of people in Chengdu, China. It traces the history of a state-owned munitions factory under the CCP and its demolition to make way for luxury high-rise apartments. As the area’s history is literally wiped away, workers describe communal life and the city’s transformation. Jia mixes testimony from local workers and professional actors (including Joan Chen), complicating our ability to understand the past through these fragments.
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  • Almost Public/Semi-Exposed 5

    Almost-Public/Semi-Exposed is the ATA Window Gallery’s annual month of installed performance. Each November we open the space to a wide range of live performers. Past years have included performance art, modern dance, Butoh, art games, endurance pieces, sound art, live painting, ritual practice, projector performance, public intervention, radical burlesque, durational poetry, and more…

    Almost Public/Semi-Exposed

    November Schedule:
    Saturday, November 3 11AM-8PM: “FS17ATA2018”, Claire Bain and Alfred Hernandez
    Tuesday, November 6 10AM-5PM: “First Female President”, Margaret McCarthy
    Saturday, November 10 12PM-4PM: “In Abject of my Beautiful Hair”, Adea Guldi
    Sunday, November 18 3-5PM: “Wire Bath”, Faith Holland
    Friday, November 23 1-5PM: “What Remains“, Jen Fedrizzi and Kat Culture
    Saturday, November 24 3:30-7:30: Adea Guldi
    Tuesday, November 27 7-10PM: “Synthestesia”, Linda Scobie
    Thursday, November 29, 5-7PM: “Heavy Times”, Liat Berdugo and Margaret McCarthy

  • Alex Dabi Zhevi: ’National Theatre’

    Opening: Friday 2 November 6 to 9pm

    It’s a famed Bulgarian colloquialism to remark ‘oh, what a theatre!’ when bearing witness to conflict, the drama of politics or expression of passionate behaviour.

    ‘National Theatre’ is a result of works made in an extended period of residency in Alex’s mother nation of Bulgaria and expanded upon with his return to his nation of upbringing, Australia. The contradictions and possibilities of being influenced by both of these cultures simultaneously results in a questioning of the friction of differences and if any parity exists between them.

    The work employs conventions of slang, counterfeit methods of reproduction and user-generated data to make inquiry into the question of understanding what it is to be ‘other’ versus to ‘belong’.

    Alex Dabi Zhevi is best known for his analogue photography and independent publishing practices. This theatre of identity period has been a significant catalyst for a shift in his practice towards research, text and video-based works.