VIDEOS


VIREO at ALCATRAZ: BEHIND THE SCENES

The Vireo team now has episodes 1-9 filmed and edited, with only three more in this twelve-part production to capture.  We are in the homestretch!  Our excitement is building as we continue to work hard toward the filming of episodes 10-12, with the release of the entire series scheduled for broadcast in spring of 2017 on KCET and available for free streaming online through their website!

To provide you an update on our progress and a little sneak preview of the overall project, we’ve worked with the outstanding team at KCET on this new Vireo at Alcatraz: Behind the Scenes video, which features scenes from episode 9 filmed on Alcatraz this past July.

A contribution from you today can help make the difference and ensure success!

http://www.operavireo.org/support


 

Artist Kenyatta Hinkle and Tyer Oyer performing in full white outfits tied to each other with role around their necks

PERFORMANCE – EXPLORING THE NOWANNAGO: KENTRIFICAN MODES OF RESISTANCE with KENYATTA A.C. HINKLE and TYLER MATTHEW OYER

Navigating the Historical Present is a mantra for Kenyatta A.C. Hinkle’s practice in which she creates performative situations to illustrate how she grapples with the residue of history related to the context of exploring the exotification and exploitation of the Black female body. Within her Kentifrica Project, Hinkle conducted extensive research and recreated an artifact called the Nowannago to be used as a symbol of navigating the historical present. The Nowannago is akin to the Oroborus, the serpent that eats its tale within ancient Egyptian mythology. The fight with time, spatiality and social dynamics creates a never-ending cycle in which oppositional parties have to grapple with their issues.

The performance for Exploring The Nowannago: Kentifrican Modes of Resistance serves as an ongoing stage and installation for video and performance featuring Kenyatta A.C. Hinkle and Tyler Matthew Oyer. This body of work involves a Kentifrican narrative that provides a social critique of how we are chained to the residue of the past and how bodies that are deemed the “other” through labels of queerness, racial constructions and gender constructions are treated.


 

Public Trust Video

PAUL RAMIREZ JONAS: PUBLIC TRUST, 2016

Public Trust, 2016 moves into the territory of promises. At one end of the spectrum we tell each other lies, outright deceptions, and at the other end we tell each other facts, true regardless of our intentions. Everything in the middle is a sort of promise we make between each other. This version also asks the public to vouch for their promises from a vast array of collaterals: taking oaths over sacred or civic texts, swearing over holy objects or materials, calling on a witness, offering a credit report as proof of one’s trustworthiness, etc.

Paul Ramirez Jonas: Public Trust, 2016 was developed through a CSUF Grand Central Art Center artist-in-residence and a commission from Now and There Inc, Boston, MA. Support for the residency has been provided by a grant to GCAC from The Andy Warhol Foundation for the Visual Arts

 


Mobility Device

 

CARMEN PAPALIA: MOBILITY DEVICE

Mobility Device was a performance in which artist Carmen Papalia, who is blind, was accompanied by a marching band that replaced his white cane as his primary means of gathering information about his surroundings. As part of this site-specific performance for the Grand Central Art Center, Papalia explored Downtown Santa Ana while The Great Centurion Marching Band from Century High School in Santa Ana, under the direction of Scott Devoe, provided musical cues indicating objects, obstacles and other information that might be relevant to the artist on his journey. As a piece of music, Mobility Device was an extension of the musicality of the white cane—bringing attention to the things that the white cane, on any occasion, might touch into sound. With Mobility Device, fixtures such as curbs, lampposts and sandwich boards became notes in the soundscape of a place. Alternately, Mobility Device proposed the possibility of user-generated, creative process-based systems of access. It represents a non-institutional (and non-institutionalizing) temporary solution for the problem that is the white cane.  The community was invited to join the performance.

Thank you to Mickey Fisher for the creation of this short documentary film. 

 


steve_roden

 

SANTA ANA SITES #5: STEVE RODEN

Santa Ana Sites #5 presented an evening of sound performance by artist Steve Roden. Performing through the use of two analog modular synthesizers, Roden will continue the Sites approach of presenting work in unique Santa Ana spaces, activating a subterranean racket ball court located in the heart of Downtown Santa Ana. 

 


photo of juan aquino looking out of car 
 

VINCENT GOUDREAU: RECORDINGS OF AN IMMIGRANT

Vincent Goudreau (Maui, Hawaii – Fall 2013) was in residence to work on his project Recordings of an Immigrant.  Juan Aquino, the immigrant for which the project is based, actually had a connection to the Grand Central Art Center / Orange County, CA  area— as a youth Aquino, now a US citizen, was originally smuggled into the US from Mexico in the trunk of a car, delivered by coyotaje to a drop house in Fullerton, CA.  In examining the overall project, Goudreau felt bringing Aquino to join him for a portion of the residency would be beneficial, GCAC agreed. Goudreau and Aquino decided they would use their time in residence together to search for the original drop house, over 30 years later. 

 


Adriana2012

 

ADRIANA SALAZAR: NOTHING ELSE LEFT

Is there an end to our existence? Can we be separated from our bodies and be transformed into something else? Adriana Salazar’s work has continued to revolve around these questions in different ways. This is why the realm of mortuary customs appeals to her: it presents numerous ways to approach the ultimate unknown.

During a two-month residency at Grand Central Art Center, the artist desired to go deeper into that moment of transition between life and death, finding out as much as she could about what happens with our bodies, with our consciousness and with everything we build around the death of others. In her words, “I found, amongst other things, that there is an aesthetics of transition, that there are rituals trying to maintain life after death, and laws which govern our bodies, even when we are not fully present. I also found out that there are transitional techniques and an intricate industry around them.” 

 


big announcement

 

ADAM MOSER: THE CUT-OFF MEN

Adam Moser’s GCAC project involved the opportunity to realize his lifelong dream of playing in the big leagues by trying out for Major League Baseball. Recognizing he was not alone in this dream, Moser place an “open call” to the community for individuals to form a nine-member tryout team.  Team members had to be in good physical shape, available to attend multiple events and available the complete day of tryouts.   Team members were also required to be at least twenty-five years or older.   The call was a success, finding nine diverse community teams members who became the Cut-Off Men.

Often the world of baseball and visual art, and those within these fields, are considered complete opposites.   The Cut-Off Men explored the similarities of baseball and visual art, through programs and symbolic actions: individuals coming together for collective success – a baseball team/group exhibition/artists collective; idea of collectable – bobble head giveaway/signed team Cut-Off Men baseballs in edition of 50/limited edition print/multiple; importance of venue – baseball stadium/art museum; importance of signature as measure of value and authenticity – autographed baseball/signed artwork.

Thank you to Mickey Fisher for the creation of this short documentary film. 

 


Vireo Episode 1 
 

LISA BIELAWA: VIREO – EPISODE 1

Grand Central Art Center and KCET Artbound presents “Vireo: The Spiritual Biography of a Witch’s Accuser,” a special episode showcasing a new opera by Lisa Bielawa on a libretto by Erik Ehn, directed by Charles Otte, that considers the usage of “female hysteria” throughout history.

Episodes 1 features the Kronos Quartet, mezzo-soprano Laurie Rubin as the Voice/Witch, the San Francisco Girls Chorus, mezzo-soprano Maria Lazarova as Vireo’s mother, , baritone Gregory Purnhagen as The Doctor, and in the title role of Vireo, 16-year-old soprano Rowen Sabala.

The “Vireo” broadcast special is executive produced by Lisa Bielawa, Anne Marie Gillen, John Spiak and Juan Devis; directed and designed by Charles Otte; director of photography Greg Cotten; music produced by Lisa Bielawa; audio capture supervisor Dan Drydencostume design by Christina Wright

 


Vireo Episode 2
 

LISA BIELAWA: VIREO – EPISODE 2

Grand Central Art Center and KCET Artbound presents “Vireo: The Spiritual Biography of a Witch’s Accuser,” a special episode showcasing a new opera by Lisa Bielawa on a libretto by Erik Ehn, directed by Charles Otte, that considers the usage of “female hysteria” throughout history. Vireo is presented in partnership with California State University, Fullerton’s Grand Central Arts Center.

Episodes 2 feature the Kronos Quartet, mezzo-soprano Laurie Rubin as the Voice/Witch, the Orange County School of the Arts Middle School Choir, mezzo-soprano Maria Lazarova as Vireo’s mother, tenor Ryan Glover as Raphael, baritone Gregory Purnhagen as The Doctor, drummer Matthias Bossi, and in the title role of Vireo, 16-year-old soprano Rowen Sabala.

The “Vireo” broadcast special is executive produced by Lisa Bielawa, Anne Marie Gillen, John Spiak and Juan Devisdirected and designed by Charles Ottedirector of photography Greg Cottenmusic produced by Lisa Bielawaaudio capture supervisor Dan Drydencostume design by Christina Wright

 


aerial view of band performing in front of large crowd

 

SANTA ANA SITES #4: WILD UP IN THE SANTORA

Santa Ana Sites #4: wild Up in The Santora fuses classical instruments with contemporary sounds to create an unforgettable evening in one of Santa Ana’s most charming venues. Los Angeles based music collective wild Up,musicians from The Colburn Conservatory of Music and composer/vocalist Lisa Bielawa come together on Saturday, February 22 to share in a night of unexpected artistic ventures. 

 


 

MATTHEW MOORE AND BRADEN KING: CUMULUS

Matthew Moore and Braden King collaborated on this piece marking the LA Aqueduct’s 100th anniversary as part of their residency at Grand Central Art Center. The site-specific installation ‘Cumulus’ is a culmination of a residency that allowed for multiple site visits, time to talk, and time to travel outside the institution. To quote King “It’s been a truly creative collaboration and process – feeling our way into something, not thinking our way into something.” The project is an attempt to tell the story of this 100-year old engineering marvel that was dedicated on Nov. 5, 1913, when thousands gathered northeast of Los Angeles to mark the opening. A ceremony where Chief Engineer and Aqueduct designer William Mulholland remarked, ‘There it is. Take it!”

Major support for the project/residency was provided by Metabolic Studio and Casio LampFree Projectors