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"title": "‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing",
"headTitle": "‘Curbside Exhibition’ at Catharine Clark Eases Back into Art Viewing | KQED",
"content": "\u003cp>Visiting art shows used to be a regular part of my job. I’d see at least one show a week, sometimes more if I was feeling ambitious or visiting an area dense with galleries. But 70-some days into shelter in place, I’ve gotten so out of practice I can’t remember what I saw last. Was it \u003ca href=\"https://www.kqed.org/arts/13875930/charlie-leeses-sculptures-lumber-indoors-at-bass-reiner\" rel=\"noopener noreferrer\" target=\"_blank\">Charlie Leese’s show\u003c/a> for Bass & Reiner? Or the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener noreferrer\" target=\"_blank\">reopening\u003c/a> of 500 Capp Street?\u003c/p>\n\u003cp>Nowadays, I don’t venture out much. Leaving the neighborhood has become the equivalent of a major expedition, not undertaken lightly and with about as much protective gear in tow. \u003c/p>\n\u003cfigure id=\"attachment_13881114\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg\" alt=\"\" width=\"1200\" height=\"983\" class=\"size-full wp-image-13881114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-768x629.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-1020x836.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Gone to Seed,’ 2017. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until this past Saturday, I’d almost forgotten how nice it is to have a reason to go somewhere—anywhere. The event in question was the opening of \u003ci>Curbside Exhibition\u003c/i> at \u003ca href=\"https://cclarkgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Catharine Clark Gallery\u003c/a>, recent work by Sonoma artist Chester Arnold. The gallery’s first attempt at a socially distanced exhibition presents Arnold’s miniature oil-on-panel paintings behind a window facing the building’s lobby, a space shared with Brian Gross Fine Art. \u003c/p>\n\u003cp>It was a mixture of old-school opening and new-world rules. Buckets of sparkling water sat near dispensers of hand sanitizer; Clark greeted visitors in person, pointing to arrows marking out increments of six feet on the lobby floor. The gallery’s precautions to minimize risk to both staff and visitors were reassuring. (Everyone must wear masks and only three visitors are allowed in the lobby at a time, with staff remaining at a distance, behind a blocked doorway into the gallery proper.)\u003c/p>\n\u003cp>Arnold’s paintings are well suited to this approximation of a show. His small-scale works and fine brushwork necessitate up-close viewing, but seeing them through glass doesn’t diminish their effect. At the opening, an additional folding table was covered in works on paper, Arnold’s ongoing series of trompe-l’oeil folded letters. The whole experience felt a bit like an impromptu backroom show, mostly thanks to the personal attention of gallery staff and Clark herself.\u003c/p>\n\u003cfigure id=\"attachment_13881115\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13881115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-1020x760.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Retirement,’ 2019. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have to admit that seeing people—even just the top halves of their faces—was slightly overwhelming. I’ve become inept at small talk after months of conversing with only close friends and family. (When a casual acquaintance recently tried to chat with me at the farmers market, I blurted out “Have a great Sunday!” while pretty much running away.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arnold’s work reflects back a certain amount of the claustrophobia and isolation that define life now. (When I visited, loose plastic bags and bits of paper blew up and down Utah Street; the city looked desolate.) And inside the lobby, three of Arnold’s paintings show handwritten letters flying over cities. The paintings’ internal sense of scale is hard to pin down. The letters could be physically close, high above the cities, or (as I choose to see them) the folded pieces of paper are enormous, large enough to crush the sturdy buildings below.\u003c/p>\n\u003cp>In the 6-by-8-inch painting \u003ci>Retirement\u003c/i>, a bucolic landscape appears through an oval hole in a red brick wall. Bending to look through a window at the oil-on-panel painting, I enacted a strange hall of mirrors, peering through a thing to see a painting that mimics peering through another thing. Even when not rendering actual peepholes, many of Arnold’s paintings force a narrow gaze, like on the lower half of an oak tree’s thickly textured trunk. Or on a dandelion bursting out of a cracked ground. \u003c/p>\n\u003cfigure id=\"attachment_13881116\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg\" alt=\"\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13881116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Straw Harvest,’ 2020. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his work also zooms out, almost impossibly far. \u003ci>Final Destination\u003c/i> shows man-made structures atop a rocky, isolated island. \u003ci>High Seas\u003c/i> depicts a boat dwarfed by a cresting—and gigantic—wave. Vertiginous views above an M.C. Escher-like mine are painted on panels that measure smaller than postcards. Humans are tiny in these paintings; the surrounding world, so much more powerful. \u003c/p>\n\u003cp>It’s not currently reassuring to contemplate humanity’s fragility. But Arnold’s paintings also show individuals engaged in the mundane tasks of stacking baled hay and walking through nature. Their activity is implied in the scrawled handwriting of his windy letter paintings. Not everything worthwhile is grand.\u003c/p>\n\u003cp>Which is why the act of leaving home; of awkwardly attempting greetings and chitchat; of seeing artwork in person, however briefly, felt hopeful.\u003c/p>\n\u003cp>And that’s something.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chester Arnold’s ‘Curbside Exhibition’ is on view at Catharine Clark Gallery in San Francisco through June 5. \u003ca href=\"https://cclarkgallery.com/exhibitions/curbside-exhibitions\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting art shows used to be a regular part of my job. I’d see at least one show a week, sometimes more if I was feeling ambitious or visiting an area dense with galleries. But 70-some days into shelter in place, I’ve gotten so out of practice I can’t remember what I saw last. Was it \u003ca href=\"https://www.kqed.org/arts/13875930/charlie-leeses-sculptures-lumber-indoors-at-bass-reiner\" rel=\"noopener noreferrer\" target=\"_blank\">Charlie Leese’s show\u003c/a> for Bass & Reiner? Or the \u003ca href=\"https://500cappstreet.org/current-exhibitions/\" rel=\"noopener noreferrer\" target=\"_blank\">reopening\u003c/a> of 500 Capp Street?\u003c/p>\n\u003cp>Nowadays, I don’t venture out much. Leaving the neighborhood has become the equivalent of a major expedition, not undertaken lightly and with about as much protective gear in tow. \u003c/p>\n\u003cfigure id=\"attachment_13881114\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg\" alt=\"\" width=\"1200\" height=\"983\" class=\"size-full wp-image-13881114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-768x629.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Gone-to-Seed_2017_1200-1020x836.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Gone to Seed,’ 2017. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until this past Saturday, I’d almost forgotten how nice it is to have a reason to go somewhere—anywhere. The event in question was the opening of \u003ci>Curbside Exhibition\u003c/i> at \u003ca href=\"https://cclarkgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Catharine Clark Gallery\u003c/a>, recent work by Sonoma artist Chester Arnold. The gallery’s first attempt at a socially distanced exhibition presents Arnold’s miniature oil-on-panel paintings behind a window facing the building’s lobby, a space shared with Brian Gross Fine Art. \u003c/p>\n\u003cp>It was a mixture of old-school opening and new-world rules. Buckets of sparkling water sat near dispensers of hand sanitizer; Clark greeted visitors in person, pointing to arrows marking out increments of six feet on the lobby floor. The gallery’s precautions to minimize risk to both staff and visitors were reassuring. (Everyone must wear masks and only three visitors are allowed in the lobby at a time, with staff remaining at a distance, behind a blocked doorway into the gallery proper.)\u003c/p>\n\u003cp>Arnold’s paintings are well suited to this approximation of a show. His small-scale works and fine brushwork necessitate up-close viewing, but seeing them through glass doesn’t diminish their effect. At the opening, an additional folding table was covered in works on paper, Arnold’s ongoing series of trompe-l’oeil folded letters. The whole experience felt a bit like an impromptu backroom show, mostly thanks to the personal attention of gallery staff and Clark herself.\u003c/p>\n\u003cfigure id=\"attachment_13881115\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg\" alt=\"\" width=\"1200\" height=\"894\" class=\"size-full wp-image-13881115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-800x596.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-768x572.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Retirement_6-x-8-inches_2019_1200-1020x760.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Retirement,’ 2019. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I have to admit that seeing people—even just the top halves of their faces—was slightly overwhelming. I’ve become inept at small talk after months of conversing with only close friends and family. (When a casual acquaintance recently tried to chat with me at the farmers market, I blurted out “Have a great Sunday!” while pretty much running away.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arnold’s work reflects back a certain amount of the claustrophobia and isolation that define life now. (When I visited, loose plastic bags and bits of paper blew up and down Utah Street; the city looked desolate.) And inside the lobby, three of Arnold’s paintings show handwritten letters flying over cities. The paintings’ internal sense of scale is hard to pin down. The letters could be physically close, high above the cities, or (as I choose to see them) the folded pieces of paper are enormous, large enough to crush the sturdy buildings below.\u003c/p>\n\u003cp>In the 6-by-8-inch painting \u003ci>Retirement\u003c/i>, a bucolic landscape appears through an oval hole in a red brick wall. Bending to look through a window at the oil-on-panel painting, I enacted a strange hall of mirrors, peering through a thing to see a painting that mimics peering through another thing. Even when not rendering actual peepholes, many of Arnold’s paintings force a narrow gaze, like on the lower half of an oak tree’s thickly textured trunk. Or on a dandelion bursting out of a cracked ground. \u003c/p>\n\u003cfigure id=\"attachment_13881116\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg\" alt=\"\" width=\"1200\" height=\"956\" class=\"size-full wp-image-13881116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-800x637.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Arnold_Straw-Harvest_2020_1200-1020x813.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Chester Arnold, ‘Straw Harvest,’ 2020. \u003ccite>(Courtesy the artist and Catharine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his work also zooms out, almost impossibly far. \u003ci>Final Destination\u003c/i> shows man-made structures atop a rocky, isolated island. \u003ci>High Seas\u003c/i> depicts a boat dwarfed by a cresting—and gigantic—wave. Vertiginous views above an M.C. Escher-like mine are painted on panels that measure smaller than postcards. Humans are tiny in these paintings; the surrounding world, so much more powerful. \u003c/p>\n\u003cp>It’s not currently reassuring to contemplate humanity’s fragility. But Arnold’s paintings also show individuals engaged in the mundane tasks of stacking baled hay and walking through nature. Their activity is implied in the scrawled handwriting of his windy letter paintings. Not everything worthwhile is grand.\u003c/p>\n\u003cp>Which is why the act of leaving home; of awkwardly attempting greetings and chitchat; of seeing artwork in person, however briefly, felt hopeful.\u003c/p>\n\u003cp>And that’s something.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chester Arnold’s ‘Curbside Exhibition’ is on view at Catharine Clark Gallery in San Francisco through June 5. \u003ca href=\"https://cclarkgallery.com/exhibitions/curbside-exhibitions\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2",
"headTitle": "‘Spaceship Earth’ Excavates the Experimental Underpinnings of Biosphere 2 | KQED",
"content": "\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You won’t hear the word “utopia” in \u003cem>Spaceship Earth\u003c/em>, Matt Wolf’s fascinating documentary about the Biosphere 2 experiment that sprang up in the Arizona desert in the late 1980s. That may seem like an odd omission for a film about a communal group of ’60s iconoclasts who bonded through theater, adventure, physical labor and nature.\u003c/p>\n\u003cp>Except that we are told, in a variety of ways and settings, that this particular collection of outsiders, dropouts, savants, scientists and artists valued pragmatism more than idealism. To pick a key example, their definition of sustainability put financial viability on par with environmental success.\u003c/p>\n\u003cp>If you’re getting a sense that \u003cem>Spaceship Earth\u003c/em> has more to say to the start-up generation, puffed-up libertarians and early-career techies than to Summer of Love survivors, you’re right. To put it another way, the ’60s gave birth to more 21st century ideas than outdoor music festivals and legal cannabis.\u003c/p>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> is now streaming via the \u003ca href=\"https://neonrated.vhx.tv/checkout/roxie-theater-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Virtual Cinema\u003c/a>, \u003ca href=\"https://neonrated.vhx.tv/checkout/rialto-cinemas-presents-spaceship-earth/purchase\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Theaters\u003c/a> and \u003ca href=\"https://bampfa.org/event/spaceship-earth\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who weren’t old enough to follow the news in the ’80s, Biosphere 2 was intended as a prototype for a space colony. Eight men and women were sealed inside an enormous, high-tech terrarium—encompassing wilderness, desert and marine areas–with the aim of surviving two full years on the crops they grew, the animals they tended and the oxygen the environment produced. Their job included the collection of massive amounts of data.\u003c/p>\n\u003cp>Following a quick montage about Biosphere 2 to begin the film, \u003cem>Spaceship Earth\u003c/em> doesn’t return to its high-profile central event for some 50 minutes. We’re taken back to the group’s beginnings in San Francisco in the mid-’60s, where so many footloose, creative souls crossed synapses and embarked on life paths rather than career paths.\u003c/p>\n\u003cfigure id=\"attachment_13880167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"837\" class=\"size-full wp-image-13880167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_John-Allen_Courtesy-of-NEON_1200-1020x711.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">John Allen \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Allen, a.k.a. Johnny Dolphin, an Oklahoman with hands-on, real-world experience and a Harvard MBA, was the catalyst, ringleader and magnet for an array of talented younger people. They formed the Theater of All Possibilities, sans drugs, and imbued everything they did thereafter with elements of spontaneity and improvisation.\u003c/p>\n\u003cp>One of those first collaborators, Marie Harding, taught herself 16mm filmmaking and steadily documented the next two and a half decades. This remarkable archive provides the wealth of candid images that editor David Teague pairs with contemporary interviews to tell a dynamic, nigh-irresistible story.\u003c/p>\n\u003cp>The merry band decamped to New Mexico in 1969 to start an expansive ranch named Synerga. (They called themselves synergists.) Their influences included R. Buckminster Fuller, and their constructions included one of his oversize geodesic domes.\u003c/p>\n\u003cp>“The magic of the entire enterprise was to always increase the challenge,” recounts one of the half-dozen people from those early days who narrate the film. In that spirit, once the ranch was humming along Allen led the group back to the Bay Area to build an ocean-going ship on the Oakland waterfront.\u003c/p>\n\u003cp>The Heraclitus, as it was christened, sailed around the world throughout the ’70s. (Owen Pallett’s score soars symphonically when the ship takes to San Francisco Bay, and at other high points in the troupe’s journey.) Allen enlisted Fort Worth billionaire and quasi-enlightened environmentalist Ed Bass to invest a chunk of his fossil-fuel fortune in various long-term sustainable ventures—a Kathmandu hotel, a London art gallery, a swath of land in the Australian outback—that the group members built and maintained.\u003c/p>\n\u003cp>The most prominent offspring of this marriage of collaborative expedition, personal exploration and long-term capitalism was Biosphere 2. (Intuitively, Biosphere 1 is Earth.)\u003c/p>\n\u003cfigure id=\"attachment_13880168\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"807\" class=\"size-full wp-image-13880168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biospherian-Linda-Leigh-and-tourists_Courtesy-of-NEON_1200-1020x686.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Biospherian Linda Leigh and tourists. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the great (and disturbing) things about historical documentaries, particularly those that delve into the recent past, is they reveal how inaccurately we remember—and how little we actually knew at the time—about events that are fixed in our memories. I vaguely recollect the media coverage as a great big smirk about eight people cohabiting (as if Biosphere 2 was MTV’s \u003ci>Real World\u003c/i>) with a hand wave toward the environmental problems (on Earth and, in the near future, in space) that the project was grappling with.\u003c/p>\n\u003cp>Because the documentary devotes its first hour to providing the insider perspective on Allen and company’s various endeavors, we perceive the mainstream media perspective—which arrives just before Biosphere 2’s launch in the form of a tsunami of television segments—as shallow, superficial and sensationalist. Our sympathies aside, the TV coverage is not appreciably different from today’s infotainment recipe.\u003c/p>\n\u003cp>As much time as the film devotes to life inside Biosphere 2, I would have happily spent another 20 minutes under the dome. The chosen eight made a once-in-a-lifetime commitment and sacrifice, at least before the International Space Station began launching in stages later in the 1990s, and there’s lots of vicarious pleasure to be had watching them. And yes, I say that in the midst of a pandemic that has compelled us to seal ourselves in our homes with our families.\u003c/p>\n\u003cfigure id=\"attachment_13880165\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"1044\" class=\"size-full wp-image-13880165\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-800x696.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-768x668.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPACESHIP-EARTH_Biosphere-2-Exteriors_Courtesy-of-NEON_1200-1020x887.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Exteriors of Biosphere 2. \u003ccite>(Courtesy of NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Spaceship Earth\u003c/em> suggests that the media-generated pressure and expectations on Allen and CEO Margaret Augustine led the duo to be overly secretive in their handling of missteps. It’s never made clear, however, what demands their major investor, Bass, may have had as the months ticked by.\u003c/p>\n\u003cp>Shortly after the eight residents emerged from their two-year shelter in place, Bass booted the top management and brought in a smart, ruthless investment banker. This jarring late-game appearance by Steve Bannon, one of the many disreputable thugs who’s circulated through the White House in the past three years, gives the film a regrettable and irrelevant political association that contributes to the film’s inability to stick the ending.\u003c/p>\n\u003cp>We’re left with a sense of failure and finality centered around Biosphere 2 that is both emotionally and thematically unsatisfying. Allen and his compatriots committed themselves to the possibilities available through mass, unselfish collaboration and viable leaps into the unknown. \u003cem>Spaceship Earth\u003c/em> is a film about the impulse to create openings, for oneself and one’s cohorts, and to embrace whatever risks and rewards result.\u003c/p>\n\u003cp>In an increasingly buttoned-down world, having the guts to seize that kind of freedom is rare and astonishing. And inspiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems",
"headTitle": "At a Digital Distance, Débora Delmar’s Show Emphasizes Invisible Systems | KQED",
"content": "\u003cp>We can’t visit art the way we used to. Unless an artwork is out in the world, unhindered by walls or doors, it’s cooped up just like the rest of us, waiting patiently to be seen. \u003c/p>\n\u003cp>So we turn to our screens: for online shows, digital galleries, even \u003ca href=\"https://etaletc.com/craig-calderwood-dressed-for-space\" rel=\"noopener noreferrer\" target=\"_blank\">exhibitions mounted in Animal Crossing\u003c/a>. In most instances, these digital offerings are not so different from the documentation that might have gone online to showcase an exhibition to out-of-towners. (Perhaps, as an audience used to gazing at New York and Los Angeles shows from afar, the Bay Area is better suited to this practice.) \u003c/p>\n\u003cp>For the most part, I’ve resisted “visiting” these newly digital offerings, taking a petulant stance (“It’s not \u003ci>supposed\u003c/i> to be this way”). But when \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a> director Suzanne L’Heureux offered to guide me through a vicarious experience of her current show, I reminded myself this is actually my job, and that I can afford to be flexible about my in-person principles while staying safely at home.\u003c/p>\n\u003cfigure id=\"attachment_13879740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/07_1200.jpg\" alt=\"\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13879740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘1/2 Onement VI (Mayfair Businessman),’ 2020; Offcut fabrics sourced from Saville Row, thread, canvas. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike the vast majority of Bay Area galleries, L’Heureux chose to open a new show \u003ci>during\u003c/i> shelter in place—a physical one. She and the artist, London-based Débora Delmar, decided the work made sense in the current context and that installing the show—ready-made sculptures and a wall piece fabricated by an Oakland artist—wouldn’t pose a health risk to anyone involved. \u003c/p>\n\u003cp>Now, \u003ci>[ ]\u003c/i>, which opened on April 18, can be seen in the form of installation images, or courtesy of L’Heureux’s live walk-throughs, happening regularly on Instagram. The show will be at a remove for everyone else for its duration, but this makes some sense for Delmar’s work, which calls attention to how both goods and people move through the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or, at present, \u003ci>don’t\u003c/i> move. \u003c/p>\n\u003cp>Highlighting barriers of entry isn’t a new aspect of Delmar’s work. For \u003ca href=\"https://www.pbs.org/newshour/arts/artist-debora-delmar-on-the-invisible-gates-that-shape-us\" rel=\"noopener noreferrer\" target=\"_blank\">her installation\u003c/a> at this year’s Material Art Fair in Mexico City, she fabricated a gate to block entry to the booth. Artworks appropriated from old advertising materials could be seen through the iron bars, and only three custom key sets opened the lock. Even when the artist and gallery left the gate open, they found many people were unwilling to cross the line into the booth.\u003c/p>\n\u003cfigure id=\"attachment_13879741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/08_1200.jpg\" alt=\"\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13879741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-1020x700.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘Barrier (2),’ 2020; Twenty Lancaster Table & Seating 17″ Round Black 3″ Standard Height Column Table Base, cable ties. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The invisible barriers that guard museums and galleries—even those that are free to enter—are as well known as they are difficult to break down. But Delmar’s \u003ci>[ ]\u003c/i> (a bracketed space that strongly delineates between inside and out) brings in symbols of other economies, giving them the minimalist, art historical treatment. The acrylic surveillance mirrors become miniature Walter de Marias. The stacked cast-iron table bases are a cafe Richard Serra. And against the gallery’s longest wall, offcut fabric from London’s Savile Row assembles into a half-sized version of Barnett Newman’s \u003ci>Onement VI\u003c/i>.\u003c/p>\n\u003cp>In my Zoom tour of the show, I missed the ability to move at my own pace, to observe an object in silence and direct my own gaze. L’Heureux generously became my avatar, moving her camera closer to requested details and stepping outside to give me a view of the show from an empty Temescal Alley. I took copious handwritten notes, just like I would in person, but I wonder what different thoughts might have entered my mind during an unmediated experience of the work. There’s simply no way to know.\u003c/p>\n\u003cp>In an essay commissioned to accompany the show, \u003ca href=\"https://static1.squarespace.com/static/57e1fab7cd0f687b55eeb260/t/5eacaab0d39412485c729802/1588374193344/DS_Delmar.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Danica Sachs writes\u003c/a> about the new awareness Delmar’s show has prompted in her everyday shelter-in-place experiences. The absence of people—both in \u003ci>[ ]\u003c/i> and the public space at large—heightens her awareness of those who always existed below the level of visibility. “Systems held tenuously in place by a largely unseen labor force that allowed us to move through our capitalist society with ease are now irrelevant or obsolete,” she writes.\u003c/p>\n\u003cp>Similarly, the artworks in \u003ci>[ ]\u003c/i> are incomplete in ways that emphasize the labor (and consumption) that ordinarily circulates around such objects. Beaming ourselves into Delmar’s show, via livestreams or astral projection, we recreate, as best we can, the experience of in-person art viewing. But the resulting discomfort—of not having control, of not seeing things clearly—is a reminder of just how inaccessible certain aspects of society (galleries included) are for many, even in the best of times.\u003c/p>\n\u003cp>Which begs the question: When we are allowed to re-enter our public spaces, will we allow those systems to reinstate themselves, and render invisible those who work within them, in exactly the same ways?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘[ ]’ is on view at Interface Gallery in Oakland through May 31. Details \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"excerpt": "The London-based Mexican artist's show calls attention to how goods and people move through the world—and now don't.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We can’t visit art the way we used to. Unless an artwork is out in the world, unhindered by walls or doors, it’s cooped up just like the rest of us, waiting patiently to be seen. \u003c/p>\n\u003cp>So we turn to our screens: for online shows, digital galleries, even \u003ca href=\"https://etaletc.com/craig-calderwood-dressed-for-space\" rel=\"noopener noreferrer\" target=\"_blank\">exhibitions mounted in Animal Crossing\u003c/a>. In most instances, these digital offerings are not so different from the documentation that might have gone online to showcase an exhibition to out-of-towners. (Perhaps, as an audience used to gazing at New York and Los Angeles shows from afar, the Bay Area is better suited to this practice.) \u003c/p>\n\u003cp>For the most part, I’ve resisted “visiting” these newly digital offerings, taking a petulant stance (“It’s not \u003ci>supposed\u003c/i> to be this way”). But when \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Interface Gallery\u003c/a> director Suzanne L’Heureux offered to guide me through a vicarious experience of her current show, I reminded myself this is actually my job, and that I can afford to be flexible about my in-person principles while staying safely at home.\u003c/p>\n\u003cfigure id=\"attachment_13879740\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/07_1200.jpg\" alt=\"\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13879740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/07_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘1/2 Onement VI (Mayfair Businessman),’ 2020; Offcut fabrics sourced from Saville Row, thread, canvas. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike the vast majority of Bay Area galleries, L’Heureux chose to open a new show \u003ci>during\u003c/i> shelter in place—a physical one. She and the artist, London-based Débora Delmar, decided the work made sense in the current context and that installing the show—ready-made sculptures and a wall piece fabricated by an Oakland artist—wouldn’t pose a health risk to anyone involved. \u003c/p>\n\u003cp>Now, \u003ci>[ ]\u003c/i>, which opened on April 18, can be seen in the form of installation images, or courtesy of L’Heureux’s live walk-throughs, happening regularly on Instagram. The show will be at a remove for everyone else for its duration, but this makes some sense for Delmar’s work, which calls attention to how both goods and people move through the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Or, at present, \u003ci>don’t\u003c/i> move. \u003c/p>\n\u003cp>Highlighting barriers of entry isn’t a new aspect of Delmar’s work. For \u003ca href=\"https://www.pbs.org/newshour/arts/artist-debora-delmar-on-the-invisible-gates-that-shape-us\" rel=\"noopener noreferrer\" target=\"_blank\">her installation\u003c/a> at this year’s Material Art Fair in Mexico City, she fabricated a gate to block entry to the booth. Artworks appropriated from old advertising materials could be seen through the iron bars, and only three custom key sets opened the lock. Even when the artist and gallery left the gate open, they found many people were unwilling to cross the line into the booth.\u003c/p>\n\u003cfigure id=\"attachment_13879741\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/08_1200.jpg\" alt=\"\" width=\"1200\" height=\"824\" class=\"size-full wp-image-13879741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/08_1200-1020x700.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Débora Delmar, ‘Barrier (2),’ 2020; Twenty Lancaster Table & Seating 17″ Round Black 3″ Standard Height Column Table Base, cable ties. \u003ccite>(Courtesy the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The invisible barriers that guard museums and galleries—even those that are free to enter—are as well known as they are difficult to break down. But Delmar’s \u003ci>[ ]\u003c/i> (a bracketed space that strongly delineates between inside and out) brings in symbols of other economies, giving them the minimalist, art historical treatment. The acrylic surveillance mirrors become miniature Walter de Marias. The stacked cast-iron table bases are a cafe Richard Serra. And against the gallery’s longest wall, offcut fabric from London’s Savile Row assembles into a half-sized version of Barnett Newman’s \u003ci>Onement VI\u003c/i>.\u003c/p>\n\u003cp>In my Zoom tour of the show, I missed the ability to move at my own pace, to observe an object in silence and direct my own gaze. L’Heureux generously became my avatar, moving her camera closer to requested details and stepping outside to give me a view of the show from an empty Temescal Alley. I took copious handwritten notes, just like I would in person, but I wonder what different thoughts might have entered my mind during an unmediated experience of the work. There’s simply no way to know.\u003c/p>\n\u003cp>In an essay commissioned to accompany the show, \u003ca href=\"https://static1.squarespace.com/static/57e1fab7cd0f687b55eeb260/t/5eacaab0d39412485c729802/1588374193344/DS_Delmar.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Danica Sachs writes\u003c/a> about the new awareness Delmar’s show has prompted in her everyday shelter-in-place experiences. The absence of people—both in \u003ci>[ ]\u003c/i> and the public space at large—heightens her awareness of those who always existed below the level of visibility. “Systems held tenuously in place by a largely unseen labor force that allowed us to move through our capitalist society with ease are now irrelevant or obsolete,” she writes.\u003c/p>\n\u003cp>Similarly, the artworks in \u003ci>[ ]\u003c/i> are incomplete in ways that emphasize the labor (and consumption) that ordinarily circulates around such objects. Beaming ourselves into Delmar’s show, via livestreams or astral projection, we recreate, as best we can, the experience of in-person art viewing. But the resulting discomfort—of not having control, of not seeing things clearly—is a reminder of just how inaccessible certain aspects of society (galleries included) are for many, even in the best of times.\u003c/p>\n\u003cp>Which begs the question: When we are allowed to re-enter our public spaces, will we allow those systems to reinstate themselves, and render invisible those who work within them, in exactly the same ways?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘[ ]’ is on view at Interface Gallery in Oakland through May 31. Details \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing",
"headTitle": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing | KQED",
"content": "\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "In ‘The Windermere Children,’ Holocaust Survivors Find Hope and Healing | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Surviving the Holocaust is not an experience that runs close or even parallel to COVID-19 confinement. The virus isn’t discriminating against individuals based on their religion, political beliefs or sexual orientation. It’s not singling out enemies of the state or locking anyone up by force. Nonetheless, the pandemic has engineered a frightening set of tensions in our private and public lives. We’re all watchful of the people we meet in the grocery store, wary of making one fatal misstep lest we catch the disease.\u003c/p>\n\u003cp>Although sheltering in place isn’t yet equivalent to living through a war, the sense of an ongoing, external threat does make it easy to identify with the characters in \u003ci>\u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">The Windermere Children\u003c/a>\u003c/i>, premiering April 5 on PBS. Based on a true story, this affecting drama is set in the northwest part of England shortly after World War II.\u003c/p>\n\u003cp>The United Kingdom created a temporary sanctuary near the idyllic backdrop of Lake Windermere for nearly 1,000 children who lived through the Holocaust (the reasons why the U.K. did this are left largely unexplained in the film). \u003ci>The Windermere Children\u003c/i> begins in the middle of the night with a busload of new arrivals. For the sake of smart and economic storytelling, the film narrows its focus onto a small group of adolescent boys.\u003c/p>\n\u003cfigure id=\"attachment_13877932\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-050919DSC1868-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Salek (Jakub Jankiewicz) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they disembark, the camera closes in on the children’s mistrustful expressions. One says the process of lining up and filing into the barracks reminds him of the death camps. The main characters are Polish; their inability to speak or understand English contributes to their sense of disorientation. A boy named Salek (Jakub Jankiewicz) is too terrified to even leave the bus. It is only when Oscar (Thomas Kretschmann), the sanctuary’s director, takes a calm and caring approach with Salek, that we know the group is in good hands.\u003c/p>\n\u003cp>Rather than filling the screen with depraved Nazis, \u003ci>The Windermere Children\u003c/i> concentrates on the damaged psyches of the survivors. That damage is fully apparent in moments like the children’s first breakfast, when they grab frenziedly at the pieces of fresh bread on the table and stampede out of the dining hall, used to years of deprivation and fighting for the tiniest scraps of sustenance.\u003c/p>\n\u003cfigure id=\"attachment_13877933\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051419DSC6324-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Oscar (Thomas Kretschmann) and Marie (Romola Garai) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four months of rehabilitation look like they’re taking place at an ordinary summer camp with soccer matches, jump rope and swims in the lake—but the underlying weight of trauma bears down on everyone, not just the survivors. In the classroom of officious child psychologist Marie (Romola Garai), children begin to express their inner turmoil with paint on paper. She is completely unprepared for the images that emerge and her own emotions crack through her professional demeanor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the children are slowly liberated by walks through the woods, bicycle rides, newfound camaraderie or handfuls of clean clothes, the audience is always aware of their scars.\u003c/p>\n\u003cp>Wojciech Szepel, the cinematographer responsible for the 2017 remake of \u003ci>Howards End\u003c/i>, captures the beauty and melancholy of the Cumbrian landscape around Lake Windermere. He does especially well with scenes set in the dark. The children can’t sleep; they frequently have nightmares. When one of the boys wakes at night and wanders outside in his bare feet, the filmmakers thoughtfully construct a scene devoid of extraneous, explanatory dialogue. Oscar is in the distance, smoking a cigarette, watching over his troubled, wandering charges. We understand that, despite their experiences and grievous losses, these children are truly being cared for.\u003c/p>\n\u003cfigure id=\"attachment_13877935\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg\" alt=\"\" width=\"936\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The.jpeg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Image-051619DSC2508-Windermere-Children-The-768x512.jpeg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">George (Philipp Christopher), Jock (Iain Glenn), Arek (Tomasz Studzinski) and Sala (Anna Maciejewska) in ‘The Windermere Children.’ \u003ccite>(Courtesy of Wall to Wall Media Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set 75 years in the past, \u003ci>The Windermere Children\u003c/i> makes a brief nod to the contemporary persistence of xenophobia and anti-Semitism—and the moral necessity of combatting such hatred. The confrontation happens on a trip to a nearby town for ice cream, when a group of English teenagers begin to mock the foreign refugees. In a shocking moment, the teens even raise their arms in a Nazi salute. While the other chaperones usher the children inside the shop, Oscar approaches the locals with ice cream cone in hand, calmly shaming them into admitting their behavior was obscene.\u003c/p>\n\u003cp>It’s a heartening yet aspirational scene that points its finger directly at 2020 audiences. Who will stand up for the dignity of others and be the Oscar of our present moment?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Windermere Children’ premieres Sunday, April 5 at 10pm on KQED 9. \u003ca href=\"https://www.pbs.org/show/windermere-children/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Unethical Art Critic is the Amoral Heart of 'Burnt Orange Heresy'",
"headTitle": "The Unethical Art Critic is the Amoral Heart of ‘Burnt Orange Heresy’ | KQED",
"content": "\u003cp>There’s a familiar trope in Hollywood depictions of the art world, similar in spirit to the ever popular \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/sharp-objects-female-journalists-in-culture/567898/\" rel=\"noopener noreferrer\" target=\"_blank\">Unethical Female Journalist\u003c/a> (she sleeps with sources). In movies, the Unethical Art Critic/Curator (the two positions are interchangeable and often occupied simultaneously) is motivated solely by greed and power, and achieves status through lies, underhanded dealings and sometimes murder. Does he or she love art or respect artists? Seemingly no, or only so far as to acknowledge them as the means by which they make their ascents.\u003c/p>\n\u003cp>At the risk of being typecast, the Danish actor Claes Bang has now gifted audiences with two delightfully amoral depictions of an Unethical Art Critic/Curator, first as a museum director in 2017’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring\" rel=\"noopener noreferrer\" target=\"_blank\">The Square\u003c/a>\u003c/i> and now as James Figueras, a morally compromised critic in \u003ci>The Burnt Orange Heresy\u003c/i>, directed by Giuseppe Capotondi and based on a 1971 noir novel by Charles Willeford.\u003c/p>\n\u003cp>Capotondi transposes Willeford’s story of a professional art critic “as contemporary as the glaring Florida sun” from Palm Beach to Milan, and his characters exist in a modern, jetsetting milieu: Mick Jagger plays swaggering art dealer Joseph Cassidy, Donald Sutherland is the reclusive artist Jerome Debney and Elizabeth Debicki is a visitor from the States as Figueras’ romantic interest Berenice Hollis.\u003c/p>\n\u003cfigure id=\"attachment_13876544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Debicki as Berenice Hollis has a pure-heart-to-pure-heart with Donald Sutherland as Jerome Debney. \u003ccite>(Photo by Jose Haro; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the action takes place at Cassidy’s “summer cottage” on Lake Cuomo, an expansive palazzo where Debney has holed up after a studio fire claimed his life’s work. From the outset, there are schemes afoot. Cassidy wants a Debney painting. Figueras wants a career. Hollis is too tall and svelte to be an ordinary American human. Was that fire really an accident? \u003c/p>\n\u003cp>Figueras’ Unethical Art Critic is unsympathetic from the start, when we see him rehearsing a lecture he delivers to American tourists about the “power of the critic”—also the title of his book, copies for sale on the back table. He tells a story about an abstract expressionist painting, the image projected behind him, in an effort to convince the tourists unmoved by its nonrepresentational brushstrokes of its inherent, art historical value. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The keyword here is “story.” With a now-swayed audience, he reveals the entire narrative is a fabrication, claiming to have painted the image himself, on the fly, without a thought or care in the world. “And that’s why you should be careful with someone like me,” he concludes to applause. (The fact that his story involves twin siblings, the Holocaust and a suicide note renders the manipulation extra icky.) Hollis, witness to the performance, nonetheless goes home with him, making the first of many inexplicably bad decisions when it comes to this man. \u003c/p>\n\u003cfigure id=\"attachment_13876546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/11_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">James Figueras and Berenice Hollis enjoy a stroll along Lake Cuomo. I yell, ‘Run away!’ \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Burnt Orange Heresy\u003c/i> is not a knowing satire of the contemporary art scene in the vein of \u003ci>The Square\u003c/i>, nor is it an art heist thriller in the vein of \u003ci>The Thomas Crown Affair\u003c/i>, though it does contain an art heist (and a forgery!). It is a noir: cynical, fatalistic and populated by morally bankrupt characters. The pure of heart don’t stand a chance.\u003c/p>\n\u003cp>As much as I may take personal umbrage with the trope of the Unethical Art Critic, \u003ci>The Burnt Orange Heresy\u003c/i> does contain a) some satisfying twists; b) fun ideas for conceptual art; and c) Donald Sutherland stealing every one of his scenes. What’s perplexing and ultimately distracting is Hollis’ helplessness, and her attraction to a man any modern woman would instantly recognize as Bad News (and not in a fun way). I caught myself yelling at her throughout. \u003c/p>\n\u003cfigure id=\"attachment_13876548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/4._1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Cassidy hands Berenice Hollis an aperitivo! \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Hollis a \u003ca href=\"https://en.wikipedia.org/wiki/This_Sweet_Sickness\" rel=\"noopener noreferrer\" target=\"_blank\">Patricia Highsmith character\u003c/a> who somehow fell through space and time into the world of international art intrigue? Perhaps this is a symptom of the original source material, the era of its writing, or of the noir genre itself. (I’m trying to give screenwriter Scott Smith the benefit of the doubt here, but really.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film has a serious title that makes it seem a bit more substantial than it actually is. It turns out to be borrowed from one of Debney’s paintings. When \u003ca href=\"https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html\" rel=\"noopener noreferrer\" target=\"_blank\">Hollis asks\u003c/a> the artist what the words mean, he says it’s “for the critics, those ravenous dogs, they can wear themselves chewing out on it, searching for meaning where there is none.” Aha! Then we remember burnt orange is also the color of an aperitivo—a light, thirst-quenching cocktail meant to whet your appetite for the real meal ahead. As Hollis would say with her Midwest folksy charm, “If the shoe fits.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a familiar trope in Hollywood depictions of the art world, similar in spirit to the ever popular \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/sharp-objects-female-journalists-in-culture/567898/\" rel=\"noopener noreferrer\" target=\"_blank\">Unethical Female Journalist\u003c/a> (she sleeps with sources). In movies, the Unethical Art Critic/Curator (the two positions are interchangeable and often occupied simultaneously) is motivated solely by greed and power, and achieves status through lies, underhanded dealings and sometimes murder. Does he or she love art or respect artists? Seemingly no, or only so far as to acknowledge them as the means by which they make their ascents.\u003c/p>\n\u003cp>At the risk of being typecast, the Danish actor Claes Bang has now gifted audiences with two delightfully amoral depictions of an Unethical Art Critic/Curator, first as a museum director in 2017’s \u003ci>\u003ca href=\"https://www.kqed.org/arts/13814048/the-square-is-ruben-ostlunds-sanctuary-of-trust-and-caring\" rel=\"noopener noreferrer\" target=\"_blank\">The Square\u003c/a>\u003c/i> and now as James Figueras, a morally compromised critic in \u003ci>The Burnt Orange Heresy\u003c/i>, directed by Giuseppe Capotondi and based on a 1971 noir novel by Charles Willeford.\u003c/p>\n\u003cp>Capotondi transposes Willeford’s story of a professional art critic “as contemporary as the glaring Florida sun” from Palm Beach to Milan, and his characters exist in a modern, jetsetting milieu: Mick Jagger plays swaggering art dealer Joseph Cassidy, Donald Sutherland is the reclusive artist Jerome Debney and Elizabeth Debicki is a visitor from the States as Figueras’ romantic interest Berenice Hollis.\u003c/p>\n\u003cfigure id=\"attachment_13876544\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/2_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/2_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Debicki as Berenice Hollis has a pure-heart-to-pure-heart with Donald Sutherland as Jerome Debney. \u003ccite>(Photo by Jose Haro; courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the action takes place at Cassidy’s “summer cottage” on Lake Cuomo, an expansive palazzo where Debney has holed up after a studio fire claimed his life’s work. From the outset, there are schemes afoot. Cassidy wants a Debney painting. Figueras wants a career. Hollis is too tall and svelte to be an ordinary American human. Was that fire really an accident? \u003c/p>\n\u003cp>Figueras’ Unethical Art Critic is unsympathetic from the start, when we see him rehearsing a lecture he delivers to American tourists about the “power of the critic”—also the title of his book, copies for sale on the back table. He tells a story about an abstract expressionist painting, the image projected behind him, in an effort to convince the tourists unmoved by its nonrepresentational brushstrokes of its inherent, art historical value. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The keyword here is “story.” With a now-swayed audience, he reveals the entire narrative is a fabrication, claiming to have painted the image himself, on the fly, without a thought or care in the world. “And that’s why you should be careful with someone like me,” he concludes to applause. (The fact that his story involves twin siblings, the Holocaust and a suicide note renders the manipulation extra icky.) Hollis, witness to the performance, nonetheless goes home with him, making the first of many inexplicably bad decisions when it comes to this man. \u003c/p>\n\u003cfigure id=\"attachment_13876546\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/11_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/11_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">James Figueras and Berenice Hollis enjoy a stroll along Lake Cuomo. I yell, ‘Run away!’ \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>The Burnt Orange Heresy\u003c/i> is not a knowing satire of the contemporary art scene in the vein of \u003ci>The Square\u003c/i>, nor is it an art heist thriller in the vein of \u003ci>The Thomas Crown Affair\u003c/i>, though it does contain an art heist (and a forgery!). It is a noir: cynical, fatalistic and populated by morally bankrupt characters. The pure of heart don’t stand a chance.\u003c/p>\n\u003cp>As much as I may take personal umbrage with the trope of the Unethical Art Critic, \u003ci>The Burnt Orange Heresy\u003c/i> does contain a) some satisfying twists; b) fun ideas for conceptual art; and c) Donald Sutherland stealing every one of his scenes. What’s perplexing and ultimately distracting is Hollis’ helplessness, and her attraction to a man any modern woman would instantly recognize as Bad News (and not in a fun way). I caught myself yelling at her throughout. \u003c/p>\n\u003cfigure id=\"attachment_13876548\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/4._1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13876548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/4._1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Cassidy hands Berenice Hollis an aperitivo! \u003ccite>(Photo by Jose Haro; courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Hollis a \u003ca href=\"https://en.wikipedia.org/wiki/This_Sweet_Sickness\" rel=\"noopener noreferrer\" target=\"_blank\">Patricia Highsmith character\u003c/a> who somehow fell through space and time into the world of international art intrigue? Perhaps this is a symptom of the original source material, the era of its writing, or of the noir genre itself. (I’m trying to give screenwriter Scott Smith the benefit of the doubt here, but really.) \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This film has a serious title that makes it seem a bit more substantial than it actually is. It turns out to be borrowed from one of Debney’s paintings. When \u003ca href=\"https://slate.com/human-interest/2017/06/actors-say-the-title-of-the-movie-theyre-in-the-video-compilation.html\" rel=\"noopener noreferrer\" target=\"_blank\">Hollis asks\u003c/a> the artist what the words mean, he says it’s “for the critics, those ravenous dogs, they can wear themselves chewing out on it, searching for meaning where there is none.” Aha! Then we remember burnt orange is also the color of an aperitivo—a light, thirst-quenching cocktail meant to whet your appetite for the real meal ahead. As Hollis would say with her Midwest folksy charm, “If the shoe fits.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Onward': Timid Teen On A Mythic Quest For Elf-Assurance",
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"content": "\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\n\u003cp>https://youtu.be/gn5QmllRCn4\u003c/p>\n\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening minutes of Disney/Pixar’s \u003cem>Onward\u003c/em>, we are met with various manifestations of loss.\u003c/p>\n\u003cp>There’s the film’s setting, a world where magic once flourished, and with it, pixies, unicorns, pegasi, elves, ogres, centaurs, mermaids—your standard-issue high-fantasy mythofaunic biome. But even here, in a gimmick the film leans into juuuuust enough, the Industrial Revolution arrived. As automation increased, magic faded. Elves still live in giant toadstools, but said toadstools are now rigidly apportioned into vast, Spielberg-suburban subdivisions and cul-de-sacs. Once-splendid unicorns have gone feral, raiding raid trash cans and hissing at passers-by like peculiarly horsey raccoons. If Middle-Earth had more strip-malls, it’d look something like this.\u003c/p>\n\u003cp>There’s also the loss experienced by the elf-family at the film’s center: mom Laurel (voiced by Julia Louis-Dreyfus) and her two sons—the younger, anxious Ian (voiced by Tom Holland) and his older, buff, RPG-obsessed brother Barley (Chris Pratt, squarely back in Andy Dwyer mode). It’s Ian’s 16th birthday, and he’s given a gift left to him by his late father, who passed away when Ian was too young to remember him: A wizard’s staff.\u003c/p>\n\u003cp>Finally, in these opening minutes, there’s still another feeling of loss that manifests in the viewer—that of lost opportunity. \u003c/p>\n\u003cp>The jokes are glib and smarmy, the family dynamics achingly familiar, and as we follow Ian to high school, his every encounter and interaction feels less Disney/Pixar and more Disney Channel—which is to say, too sweet, too cornball, too affected, too faux-contemporary. The average very young child in the audience won’t notice; the average parent will start checking the theater’s exits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>But!\u003c/em>\u003c/p>\n\u003cp>On or about the 20-minute mark—not coincidentally, upon the arrival of a manticore called Corey, voiced by Octavia Spencer—the film seems to discover what it is: A testament to the remarkable degree of emotional expressiveness that Pixar’s character-animators can imbue into a story. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gn5QmllRCn4'\n title='//www.youtube.com/embed/gn5QmllRCn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s not to say that the voice cast isn’t solid—they are. But so much of what enlivens \u003cem>Onward \u003c/em>has to do with the characters’ body language, their facial expressions and their pure, albeit pixelated, physicality. In my screening, the scenes that produced the longest, loudest, deepest bursts of audience laughter—like Corey’s interactions with her Chuck E. Cheese-esque doppelganger, or Ian’s crossing of a yawning chasm—landed as hard as they did because they were so fully imagined, enfleshed and executed, with such confident, entirely visual, comic timing. I’m pretty sure they would have worked with the sound off.\u003c/p>\n\u003cp>As for the story, it is, fittingly enough, a mythic quest/road movie: Ian, guided by a supportive Barley, must follow clues on a map that will outfit him with the tools he needs to bring their dead father back for a single-day visit. (Ian managed to bring the lower half of his father back in the film’s opening minutes—and it’s remarkable how much personality a pair of brown trousers and a couple of Florsheims can convey.) It’s here that the film’s suburban/fantasy hybrid nature coheres most strongly, as when one of the greatest challenges Ian must face is not slaying a beast, rescuing a damsel or finding a treasure, but instead … merging onto a highway.\u003c/p>\n\u003cp>Pixar’s been doing this whole story-structure thing for a while now, so it’s no surprise that the various lessons (read: spells) that Ian learns over the course of the film will slot neatly into the film’s climax. What \u003cem>is\u003c/em> a surprise—and a good one—is how satisfying that climax turns out to be, especially since so many animated films remain content to collapse into noisy spectacle in their closing minutes. (Note: \u003cem>Onward\u003c/em>‘s climax \u003cem>does\u003c/em> count as spectacle, and it \u003cem>is\u003c/em> noisy—but it has also been carefully crafted to directly reflect the emotional stakes that the filmmakers have been systematically raising over the course of its running time.)\u003c/p>\n\u003cp>The film remains true to its Pixar provenance in its willingness—nay, it’s doughty \u003cem>insistence\u003c/em>—on playing on viewers’ emotions. Which is to say: The film’s final moments do not simply attempt to pluck at the heartstrings, they \u003cem>saw away at the heartstrings savagely\u003c/em>, with Gwar-like abandon. Prep your kids for this eventuality. And, discreetly, yourself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Culture Clash Makes America (Still) Great Again at Berkeley Rep",
"headTitle": "Culture Clash Makes America (Still) Great Again at Berkeley Rep | KQED",
"content": "\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Invisible Man': When Danger Is Present — And Clear",
"headTitle": "‘The Invisible Man’: When Danger Is Present — And Clear | KQED",
"content": "\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\n\u003cp>https://youtu.be/dSBsNeYqh-k\u003c/p>\n\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Leigh Whannell's update of the H.G. Wells novel traffics in a \"psychological realism that's unusual for the genre,\" which effectively transforms it into \"'Gaslight' with a horror twist.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dSBsNeYqh-k'\n title='//www.youtube.com/embed/dSBsNeYqh-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’",
"headTitle": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’ | KQED",
"content": "\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"title": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’ | KQED",
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"headline": "SFAC Galleries Invite You to Dig Through Their 50-Year History in ‘Capricorn Chronicles’",
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"startTimeString": "Feb. 12–March 28",
"venueAddress": "401 Van Ness, Ste. 126, San Francisco",
"eventLink": "https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? \u003c/p>\n\u003cp>This was never the case in San Francisco. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. No one in 2020 can quite determine how the gallery’s name, “Capricorn Asunder,” was chosen, but Benvenuto’s astrological sign is a potential clue.\u003c/p>\n\u003cp>The poster for the gallery’s first exhibition (called \u003ci>Saturnalia\u003c/i>, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, \u003ci>\u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">The Capricorn Chronicles\u003c/a>\u003c/i>, is suitably trippy. Illustrated bursts of popcorn float above the show title. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” \u003c/p>\n\u003cfigure id=\"attachment_13875608\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"778\" class=\"size-full wp-image-13875608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_5_1200-1020x661.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The poster for the first Capricorn Asunder show, ‘Saturnalia,’ in 1970. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show.\u003c/p>\n\u003cp>\u003ci>The Capricorn Chronicles\u003c/i> is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours. In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix. \u003c/p>\n\u003cfigure id=\"attachment_13875612\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_55_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Documentation of past shows and catalogs in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As could be expected, there are unknowns in the gallery’s history. Notably, the years 1970 through 1983 fit into just one storage box, the result of a 1980 fire at 165 Grove, where the Arts Commission once kept its offices. The empty lot left behind by that fire would go on to become the Please Touch Community Garden, a project initially begun in 2010 by artist GK Callahan and Lighthouse for the Blind and Visually Impaired. (Due to 155 Grove’s structural instability, the garden closed in the summer of 2019.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That structural instability is inherently part of \u003ci>The Capricorn Chronicles\u003c/i>, which spans shows located in the original 155 Grove space, the gallery’s “temporary” space in the Veterans Building after 155 Grove was deemed a seismic hazard in 1994, and its more \u003ca href=\"https://www.kqed.org/arts/11263135/asunder-no-more-sfac-gallery-expands-and-reopens-in-civic-center\" rel=\"noopener noreferrer\" target=\"_blank\">recently expanded\u003c/a>, permanent Veterans Building home—not to mention various City Hall installations, off-site projects and far-flung neighborhood events. \u003c/p>\n\u003cfigure id=\"attachment_13875610\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_25_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ephemera from past exhibitions on display in ‘The Capricorn Chronicles.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s captured in the mix of posters, art objects, exhibition catalogs and handwritten messages on display is a story of various art trends and movements, and of Bay Area artists responding to social and political events. That includes a 1990 action protesting the possible defunding of the National Endowment for the Arts, which resulted in a funeral-like procession to the empty lot of 165 Grove Street and the burial of a copper time capsule containing 54 works of art. This “symbolic protection against the uncertainty of the future of our First Amendment rights” was well documented by various local television stations; you can watch that footage on a media player in the gallery’s corner.\u003c/p>\n\u003cp>Each of the curators has a favorite aspect of the show, which they will happily point out to visitors. For Wazwaz, it’s the aforementioned time capsule, which was exhumed in 1995 and displayed as a reminder of the fight for freedom of expression. For Im, it’s a ridiculous stream-of-consciousness email from an exhibiting artist (“watch out because here it comes im feeling the flow”), despite then-director Rupert Jenkins’ previous plea for more concise messages. And for Carpio, it’s anything handwritten, including detailed exhibition proposals. \u003c/p>\n\u003cfigure id=\"attachment_13875609\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/SFAC_The_Capricorn_Chronicles_hires_19_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAC Galleries staff have moved their offices into the gallery for the duration of the show. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three curators remark on the emotional difference between a tangible archive and a digital one, something their work on this show drove home. Moving forward, as they make their own archival decisions about what the future needs to know about the SFAC Galleries, they have a renewed interest in capturing the present moment through printed materials. \u003c/p>\n\u003cp>Maybe in another 50 years, that exuberant bit of wall vinyl testifying to the galleries’ 100-year history will depict a visionary art experience from the 2020s. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Capricorn Chronicles’ is on view at the San Francisco Arts Commission Main Gallery through March 28. \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/capricorn-chronicles\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "two-otherworldly-immigrant-tales-unfold-in-the-supers-and-retablos-at-z-space",
"title": "Two Otherworldly Immigrant Tales Unfold in 'The Supers' and 'Retablos' at Z Space",
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"headTitle": "Two Otherworldly Immigrant Tales Unfold in ‘The Supers’ and ‘Retablos’ at Z Space | KQED",
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"content": "\u003cp>Since taking over the Theatre Artaud space in 2009, Z Space has presented and produced a wide spectrum of disciplines and narrative techniques. From rock operas to lyric operas, cabaret to Kathak, innovative touring companies to local playwrights, Z Space is a place one goes to experience outside-of-the-box theatricals.\u003c/p>\n\u003cp>This past weekend, I camped out at Z Space and its companion venue, Z Below, to experience its wide variety with two world premieres that are worlds apart: \u003cem>The Supers\u003c/em>, by Sara Moore, and \u003cem>Retablos\u003c/em>, by Word for Word.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> multi-dimensional, multi-media expedition, \u003cem>The Supers\u003c/em> unfolds across a playfully conceptualized universe. Propelled by a cinematic score composed by Rob Reich, and accompanied by videos of colorful constellations designed by director Colin Johnson, a quintet of mostly non-verbal clowns hurtle through space in search of sanctuary. After losing one of their party—the presumptive hero, Jess, played by writer of the show and Director of the Clown Conservatory at Circus Center, Sara Moore—the remaining four land on Earth to start over.\u003c/p>\n\u003cfigure id=\"attachment_13875351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez discover electricity. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A now-leaderless collective of outcasts, each has a signature source of power. Helena (Maureen McVerry), an older spinster in power reds, displays a penchant for torch songs. The deceptively sweet Oopsy (Kaylamay Paz Suarez) packs a powerful punch and totes a marshmallow-shooting rifle. The plaid-clad Charlie (Guilhem Milhau) generates electricity from his fingertips. And the fatigue-wearing Edgar (DeMarcello Funes) has traveled the universe, gathering experiences and hoarding oranges. Though they frequently react with skittish, fearful energy at the many obstacles they encounter on their journey, they manage to stick together, and stand up for themselves when it counts.\u003c/p>\n\u003cp>Their Earthly immigrant experience begins like so many: by crowding into a rundown tenement of cramped single-occupancy rooms (courtesy of Katie Whitcraft and Jacque Bugler) run by a suspicious curmudgeon in coveralls (Adam Roy). As they figure out their daily routines, they’re spied upon, threatened, and have their possessions stolen by the increasingly paranoid “Super” whose rage contorts his body in every direction. At times he appears to be made of convulsive silly-putty, his limbs appearing to elongate and contract with his acrimony. His unfortunate companion, Waldo (Joel Baker), does his best to keep his equilibrium under the Super’s erratic onslaughts, showing off his superlative ability to keep a straight face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That each character is able to convey so much of their backstory non-verbally—assisted by some key animated sequences—is \u003cem>The Supers\u003c/em> ecstatic superpower. And while it’s not always clear how each vignette connects to the next, the plucky performances occasionally becoming overwhelmed by the force of the immersive soundscape, this vibrant and colorful “human cartoon” admirably showcases its whimsical ensemble with genuine heart.\u003c/p>\n\u003cfigure id=\"attachment_13875352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez confronting a fear. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n immigrant experience more rooted on Earth, though refracted through the gently blurred lens of reminiscence, is Octavio Solis’ \u003cem>Retablos\u003c/em>, a collection of short stories set in the El Paso of Solis’ childhood. Staged by Z Space’s resident theater company, Word for Word, each tale unfolds against a stunning backdrop of mountains and ominously looming clouds (set design Nina Ball, Scenic Artisan Vola Rubens) in a shimmering mélange of memories and emotion. A stooped old woman crosses the border to sweep floors and feed children who do not yet understand what she must have sacrificed to be their caretaker, a Mexican-American immigration officer terrorizes the local teenagers, a macho father struggles to apologize to his son for his missteps, a hungry child drinks a bottle of turpentine—yet lives.\u003c/p>\n\u003cfigure id=\"attachment_13875357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family moment with Regina Morales, Gabriel Montoya, Brady Morales-Woolery and Carla Gallardo. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans of Word for Word already know, and new converts to the method via Elevator Repair Service’s \u003cem>Gatz\u003c/em> (playing at Berkeley Rep until March 1) may wish to, the stories in Solis’ poetic, episodic memoir are spoken exactly as written on the page, with every “\u003cem>dice ella\u003c/em>/she said” integrated into the actor’s lines. In rotation, the actors in Word for Word’s production enact the spoken text with measured grace, trading roles as they go. One story might be narrated by the youthful Edie Flores, whose rakish pompadour sweeps high above his perpetually startled-looking eyes. Another might issue from Gabriel Montoya, whose maturity tinges his storytelling with the inescapable weight of melancholy. Altogether, an ensemble of eight paints a portrait of as El Paso as delicate and intricate as an altar piece, or \u003cem>retablo.\u003c/em>\u003c/p>\n\u003cp>Because most of the stories take place in the past, co-directors Sheila Balter and Jim Cave use the stylistic framing of a “memory play” to bolster their directing choices. Assisted greatly by the saturated secondary colors of Jeff Rowlings’ lighting and the flowing musical interludes and key effects of David R. Molina’s sound design, Solis’ El Paso floats to the surface, as if emerging from a subterranean consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13875355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_Quincean%CC%83eraDance_credit_LorenzoFernandez-Kopec-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Quinceañera, with the cast of ‘Retablos’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an illustrative vignette, a teenager (Edie Flores) at a Quinceañera finds himself dancing, not with the girl he’d been flirting with the night before, but her sullen sister (Carla Gallardo), who’s encumbered by a leg brace. Recalling the classic Tennessee Williams “memory play,” \u003cem>The Glass Menagerie,\u003c/em> the scene spins by in a whirl of dimmed light, the lurching burden of the brace, the tender moment where Flores becomes aware of Gallardo’s breath at his shoulder. Throughout, the music takes on a muffled, distorted quality, while the LED-laden DJ Ball fills the room with prismatic flashes of light, giving the entire scene an otherworldly incandescence—until the kicker of an earthy last line.\u003c/p>\n\u003cp>Memory, like dream, is as fleeting as it is mutable. We can never be certain that our memories are completely accurate, and yet we insist on revisiting them, retelling them, and revising them in a continual compilation of our own mythology. By honoring the page as it is written, Word for Word is able to allow Solis’ singular mythology to take center stage, his lush recollections materializing briefly, one by one, only to slip away leaving the audience with an embodied experience of a singular El Paso, melding with our own unreliable remembrances in the realm of reverie.\u003c/p>\n\u003cfigure id=\"attachment_13875354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Morales as the Virgen de Guadalupe, in ‘Retablos,’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Supers’ runs at Z Space through Feb. 29; \u003ca href=\"http://www.zspace.org/supers\">details here\u003c/a>. ‘Retablos’ runs at Z Below through March 15; \u003ca href=\"http://www.zspace.org/retablos-word-for-word\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"venueName": "Z Space / Z Below",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since taking over the Theatre Artaud space in 2009, Z Space has presented and produced a wide spectrum of disciplines and narrative techniques. From rock operas to lyric operas, cabaret to Kathak, innovative touring companies to local playwrights, Z Space is a place one goes to experience outside-of-the-box theatricals.\u003c/p>\n\u003cp>This past weekend, I camped out at Z Space and its companion venue, Z Below, to experience its wide variety with two world premieres that are worlds apart: \u003cem>The Supers\u003c/em>, by Sara Moore, and \u003cem>Retablos\u003c/em>, by Word for Word.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> multi-dimensional, multi-media expedition, \u003cem>The Supers\u003c/em> unfolds across a playfully conceptualized universe. Propelled by a cinematic score composed by Rob Reich, and accompanied by videos of colorful constellations designed by director Colin Johnson, a quintet of mostly non-verbal clowns hurtle through space in search of sanctuary. After losing one of their party—the presumptive hero, Jess, played by writer of the show and Director of the Clown Conservatory at Circus Center, Sara Moore—the remaining four land on Earth to start over.\u003c/p>\n\u003cfigure id=\"attachment_13875351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez discover electricity. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A now-leaderless collective of outcasts, each has a signature source of power. Helena (Maureen McVerry), an older spinster in power reds, displays a penchant for torch songs. The deceptively sweet Oopsy (Kaylamay Paz Suarez) packs a powerful punch and totes a marshmallow-shooting rifle. The plaid-clad Charlie (Guilhem Milhau) generates electricity from his fingertips. And the fatigue-wearing Edgar (DeMarcello Funes) has traveled the universe, gathering experiences and hoarding oranges. Though they frequently react with skittish, fearful energy at the many obstacles they encounter on their journey, they manage to stick together, and stand up for themselves when it counts.\u003c/p>\n\u003cp>Their Earthly immigrant experience begins like so many: by crowding into a rundown tenement of cramped single-occupancy rooms (courtesy of Katie Whitcraft and Jacque Bugler) run by a suspicious curmudgeon in coveralls (Adam Roy). As they figure out their daily routines, they’re spied upon, threatened, and have their possessions stolen by the increasingly paranoid “Super” whose rage contorts his body in every direction. At times he appears to be made of convulsive silly-putty, his limbs appearing to elongate and contract with his acrimony. His unfortunate companion, Waldo (Joel Baker), does his best to keep his equilibrium under the Super’s erratic onslaughts, showing off his superlative ability to keep a straight face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That each character is able to convey so much of their backstory non-verbally—assisted by some key animated sequences—is \u003cem>The Supers\u003c/em> ecstatic superpower. And while it’s not always clear how each vignette connects to the next, the plucky performances occasionally becoming overwhelmed by the force of the immersive soundscape, this vibrant and colorful “human cartoon” admirably showcases its whimsical ensemble with genuine heart.\u003c/p>\n\u003cfigure id=\"attachment_13875352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez confronting a fear. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n immigrant experience more rooted on Earth, though refracted through the gently blurred lens of reminiscence, is Octavio Solis’ \u003cem>Retablos\u003c/em>, a collection of short stories set in the El Paso of Solis’ childhood. Staged by Z Space’s resident theater company, Word for Word, each tale unfolds against a stunning backdrop of mountains and ominously looming clouds (set design Nina Ball, Scenic Artisan Vola Rubens) in a shimmering mélange of memories and emotion. A stooped old woman crosses the border to sweep floors and feed children who do not yet understand what she must have sacrificed to be their caretaker, a Mexican-American immigration officer terrorizes the local teenagers, a macho father struggles to apologize to his son for his missteps, a hungry child drinks a bottle of turpentine—yet lives.\u003c/p>\n\u003cfigure id=\"attachment_13875357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family moment with Regina Morales, Gabriel Montoya, Brady Morales-Woolery and Carla Gallardo. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans of Word for Word already know, and new converts to the method via Elevator Repair Service’s \u003cem>Gatz\u003c/em> (playing at Berkeley Rep until March 1) may wish to, the stories in Solis’ poetic, episodic memoir are spoken exactly as written on the page, with every “\u003cem>dice ella\u003c/em>/she said” integrated into the actor’s lines. In rotation, the actors in Word for Word’s production enact the spoken text with measured grace, trading roles as they go. One story might be narrated by the youthful Edie Flores, whose rakish pompadour sweeps high above his perpetually startled-looking eyes. Another might issue from Gabriel Montoya, whose maturity tinges his storytelling with the inescapable weight of melancholy. Altogether, an ensemble of eight paints a portrait of as El Paso as delicate and intricate as an altar piece, or \u003cem>retablo.\u003c/em>\u003c/p>\n\u003cp>Because most of the stories take place in the past, co-directors Sheila Balter and Jim Cave use the stylistic framing of a “memory play” to bolster their directing choices. Assisted greatly by the saturated secondary colors of Jeff Rowlings’ lighting and the flowing musical interludes and key effects of David R. Molina’s sound design, Solis’ El Paso floats to the surface, as if emerging from a subterranean consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13875355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_Quincean%CC%83eraDance_credit_LorenzoFernandez-Kopec-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Quinceañera, with the cast of ‘Retablos’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an illustrative vignette, a teenager (Edie Flores) at a Quinceañera finds himself dancing, not with the girl he’d been flirting with the night before, but her sullen sister (Carla Gallardo), who’s encumbered by a leg brace. Recalling the classic Tennessee Williams “memory play,” \u003cem>The Glass Menagerie,\u003c/em> the scene spins by in a whirl of dimmed light, the lurching burden of the brace, the tender moment where Flores becomes aware of Gallardo’s breath at his shoulder. Throughout, the music takes on a muffled, distorted quality, while the LED-laden DJ Ball fills the room with prismatic flashes of light, giving the entire scene an otherworldly incandescence—until the kicker of an earthy last line.\u003c/p>\n\u003cp>Memory, like dream, is as fleeting as it is mutable. We can never be certain that our memories are completely accurate, and yet we insist on revisiting them, retelling them, and revising them in a continual compilation of our own mythology. By honoring the page as it is written, Word for Word is able to allow Solis’ singular mythology to take center stage, his lush recollections materializing briefly, one by one, only to slip away leaving the audience with an embodied experience of a singular El Paso, melding with our own unreliable remembrances in the realm of reverie.\u003c/p>\n\u003cfigure id=\"attachment_13875354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Morales as the Virgen de Guadalupe, in ‘Retablos,’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Supers’ runs at Z Space through Feb. 29; \u003ca href=\"http://www.zspace.org/supers\">details here\u003c/a>. ‘Retablos’ runs at Z Below through March 15; \u003ca href=\"http://www.zspace.org/retablos-word-for-word\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "uncanny-valley-de-young-review",
"title": "Artists Mine Data and the Mostly Chilling Implications of AI in 'Uncanny Valley'",
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"headTitle": "Artists Mine Data and the Mostly Chilling Implications of AI in ‘Uncanny Valley’ | KQED",
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"content": "\u003cp>The appearance of one’s doppelgänger usually presages disaster. Today, a shadow version of oneself exists constantly alongside our flesh-and-bone selves, for the most part concealed under the surface of our smartphones, in the ebb and flow of data behind our screens. These “statistical alter egos,” as de Young contemporary art curator Claudia Schmuckli calls them, are part of the modern condition—at least for anyone who engages with the networked world.\u003c/p>\n\u003cp>Instead of shying away from this uncomfortable truth, the artists of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Uncanny Valley\u003c/a>\u003c/i>, Schmuckli’s first group exhibition at the de Young, meet these doppelgängers head on, mining and manipulating that data to confront audiences with their digital lives, and the real-world implications of all that information.\u003c/p>\n\u003cp>\u003ci>Uncanny Valley\u003c/i> is billed as the “first major exhibition in the U.S. to explore the relationship between humans and intelligent machines through an artistic lens,” which sounds like it could be a show of unwieldy and intangible technology. It does, however, hew fairly close to the standard exhibition format, just with slightly more interactive features. Dealing in such nebulous, digital stuff, \u003ci>Uncanny Valley\u003c/i>’s strongest moments turn those themes into room-sized installations, as happens in Zach Blas’ \u003ci>The Doors\u003c/i>, Lynn Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> and Christopher Kulendran Thomas’ \u003ci>Being Human\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13875432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Blas_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zach Blas, ‘The Doors,’ 2019, installation view in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with Blas’ green-tinged “mystical corporate garden,” organized around the sacred geometry of \u003ca href=\"https://www.learnreligions.com/archangel-metatrons-cube-in-sacred-geometry-124293\" rel=\"noopener noreferrer\" target=\"_blank\">Metatron’s\u003c/a> cube in a nod to the Bay Area’s past and present relationship to psychedelia. At the room’s center, a glass case displays readily available nootropics (so-called smart drugs), popular with a Silicon Valley set interested in optimizing everything, including their own minds. On hanging screens, video projections trained on various neural networks (Fillmore-esque posters, Jim Morrison’s poetry, lizard skin) create a frenetic ambiance, the textbook cacophony of a bad trip. \u003c/p>\n\u003cp>While Blas’ LSD-inspired “garden” asks questions like “Who gets to have a vision of the future today?” other projects supply an onslaught of unsettling information we didn’t necessarily know to ask after. Soliciting visitors’ email addresses, Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> broadcasts what personal data can be gleaned from an internet search of that email, yielding current and former addresses, dates of birth, phone numbers and even, sometimes, credit scores. (Schmuckli assured me the museum isn’t keeping people’s email addresses on file, so at least there’s that.) \u003c/p>\n\u003cfigure id=\"attachment_13875434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Leeson_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13875434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, still from ‘Shadow Stalker,’ 2019. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson further implicates her audience (their physical and “digital” shadows become part of a projected map) by linking this invasive search to the reality of predictive policing, which uses data about past arrests to identify “high-risk areas” and determine heightened surveillance of those spaces. The feedback loop is dizzying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There \u003ci>are\u003c/i> examples in \u003ci>Uncanny Valley\u003c/i> of big data and AI being wielded for good (Forensic Architecture’s work to identify Triple-Chaser tear gas canisters in images from around the globe is one), but more often the show presents artworks that highlight the potential for abuse. See Trevor Paglen’s \u003ci>They Took the Faces from the Accused and the Dead … (SD18)\u003c/i>, 3,240 silver gelatin prints bearing the faces of accused and incarcerated individuals—images once used (without the subjects’ permission) to train facial-recognition software. (Now such software just trains itself on our social media pics, ¯\\_(ツ)_/¯.)\u003c/p>\n\u003cfigure id=\"attachment_13875435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Paglen_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trevor Paglen, ‘They Took the Faces from the Accused and the Dead… (SD18),’ 2019 in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the incorporation of technology into an artwork seems a bit arbitrary. In Simon Denny’s \u003ci>Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage\u003c/i>, visitors can use a QR code inside the powder-coated metal sculpture (an actual patent filed by Amazon, made by the artist into a real object) to activate on a supplied tablet the image of a small bird flitting about inside the cage. Conceptually, I get it: a species at risk, a harbinger of environmental collapse, a veritable “canary” in the coal mine. But in practical application, it’s one thing too many for the otherwise potent piece, and clunky to hold. \u003c/p>\n\u003cp>It’s far more chilling to imagine a human worker in this cage, steered by an automated system instead of their own will. Here too, we are implicated: As daily users of Amazon’s services, this design was created on our behalves, to better move Amazon employees through “active workspaces.” And while this specific cage was never pursued by the company, \u003ca href=\"https://patents.google.com/patent/US9280157B2/en\" rel=\"noopener noreferrer\" target=\"_blank\">the patent\u003c/a> doesn’t expire until 2033.\u003c/p>\n\u003cfigure id=\"attachment_13875431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg\" alt=\"\" width=\"1200\" height=\"722\" class=\"size-full wp-image-13875431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-1020x614.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Simon Denny, ‘Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage,’ 2019 beside work by Agnieszka Kurant in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the middle space between open questions and answers to questions we didn’t know we had, Kulendran Thomas’ \u003ci>Being Human\u003c/i>, made in collaboration with Annika Kuhlmann, ties together the philosophy of humanism, the history of civil conflict in Sri Lanka, the international art market, deepfakes and even an AI-generated pop song.\u003c/p>\n\u003cp>The 25-minute video plays in an elegantly arranged installation that blinks back and forth between projected image and a white-wall presentation of contemporary Sri Lankan art. Our guide within the video mulls over the concept of human rights, and its ties to Western imperialism—an especially pressing consideration for those who exist outside a recognized nation state. Then an uncanny deepfake of the Colombian artist Oscar Murillo says what might be exhibition’s greatest takeaway: “Invariably this space of theoretical equality is actually mediated by unequal powers.” (He’s talking about the art market, but the same applies to our Brave New Digital World.)\u003c/p>\n\u003cp>There is great power in the digital self: to communicate across borders, to make old gatekeepers irrelevant, to absorb and disseminate information that wants—demands—to be free. But that power is also being harnessed by those who would use it to sell us things, predict our behavior and arrest us for simply existing within a map’s red square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Uncanny Valley’ is on view at the de Young Museum in San Francisco through Oct. 25, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The de Young museum's group show confronts the implications of artificial intelligence and digital doppelgängers.",
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"title": "Artists Mine Data and the Mostly Chilling Implications of AI in 'Uncanny Valley' | KQED",
"description": "The de Young museum's group show confronts the implications of artificial intelligence and digital doppelgängers.",
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"startTimeString": "Feb. 22–Oct. 25",
"venueName": "de Young Museum",
"venueAddress": "50 Hagiwara Tea Garden Dr., San Francisco",
"eventLink": "https://deyoung.famsf.org/exhibitions/uncanny-valley",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The appearance of one’s doppelgänger usually presages disaster. Today, a shadow version of oneself exists constantly alongside our flesh-and-bone selves, for the most part concealed under the surface of our smartphones, in the ebb and flow of data behind our screens. These “statistical alter egos,” as de Young contemporary art curator Claudia Schmuckli calls them, are part of the modern condition—at least for anyone who engages with the networked world.\u003c/p>\n\u003cp>Instead of shying away from this uncomfortable truth, the artists of \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Uncanny Valley\u003c/a>\u003c/i>, Schmuckli’s first group exhibition at the de Young, meet these doppelgängers head on, mining and manipulating that data to confront audiences with their digital lives, and the real-world implications of all that information.\u003c/p>\n\u003cp>\u003ci>Uncanny Valley\u003c/i> is billed as the “first major exhibition in the U.S. to explore the relationship between humans and intelligent machines through an artistic lens,” which sounds like it could be a show of unwieldy and intangible technology. It does, however, hew fairly close to the standard exhibition format, just with slightly more interactive features. Dealing in such nebulous, digital stuff, \u003ci>Uncanny Valley\u003c/i>’s strongest moments turn those themes into room-sized installations, as happens in Zach Blas’ \u003ci>The Doors\u003c/i>, Lynn Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> and Christopher Kulendran Thomas’ \u003ci>Being Human\u003c/i>. \u003c/p>\n\u003cfigure id=\"attachment_13875432\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Blas_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Blas_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Zach Blas, ‘The Doors,’ 2019, installation view in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition opens with Blas’ green-tinged “mystical corporate garden,” organized around the sacred geometry of \u003ca href=\"https://www.learnreligions.com/archangel-metatrons-cube-in-sacred-geometry-124293\" rel=\"noopener noreferrer\" target=\"_blank\">Metatron’s\u003c/a> cube in a nod to the Bay Area’s past and present relationship to psychedelia. At the room’s center, a glass case displays readily available nootropics (so-called smart drugs), popular with a Silicon Valley set interested in optimizing everything, including their own minds. On hanging screens, video projections trained on various neural networks (Fillmore-esque posters, Jim Morrison’s poetry, lizard skin) create a frenetic ambiance, the textbook cacophony of a bad trip. \u003c/p>\n\u003cp>While Blas’ LSD-inspired “garden” asks questions like “Who gets to have a vision of the future today?” other projects supply an onslaught of unsettling information we didn’t necessarily know to ask after. Soliciting visitors’ email addresses, Hershman Leeson’s \u003ci>Shadow Stalker\u003c/i> broadcasts what personal data can be gleaned from an internet search of that email, yielding current and former addresses, dates of birth, phone numbers and even, sometimes, credit scores. (Schmuckli assured me the museum isn’t keeping people’s email addresses on file, so at least there’s that.) \u003c/p>\n\u003cfigure id=\"attachment_13875434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Leeson_1200.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13875434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Leeson_1200-1020x574.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lynn Hershman Leeson, still from ‘Shadow Stalker,’ 2019. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hershman Leeson further implicates her audience (their physical and “digital” shadows become part of a projected map) by linking this invasive search to the reality of predictive policing, which uses data about past arrests to identify “high-risk areas” and determine heightened surveillance of those spaces. The feedback loop is dizzying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There \u003ci>are\u003c/i> examples in \u003ci>Uncanny Valley\u003c/i> of big data and AI being wielded for good (Forensic Architecture’s work to identify Triple-Chaser tear gas canisters in images from around the globe is one), but more often the show presents artworks that highlight the potential for abuse. See Trevor Paglen’s \u003ci>They Took the Faces from the Accused and the Dead … (SD18)\u003c/i>, 3,240 silver gelatin prints bearing the faces of accused and incarcerated individuals—images once used (without the subjects’ permission) to train facial-recognition software. (Now such software just trains itself on our social media pics, ¯\\_(ツ)_/¯.)\u003c/p>\n\u003cfigure id=\"attachment_13875435\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Paglen_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Paglen_1200-1020x680.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Trevor Paglen, ‘They Took the Faces from the Accused and the Dead… (SD18),’ 2019 in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At times, the incorporation of technology into an artwork seems a bit arbitrary. In Simon Denny’s \u003ci>Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage\u003c/i>, visitors can use a QR code inside the powder-coated metal sculpture (an actual patent filed by Amazon, made by the artist into a real object) to activate on a supplied tablet the image of a small bird flitting about inside the cage. Conceptually, I get it: a species at risk, a harbinger of environmental collapse, a veritable “canary” in the coal mine. But in practical application, it’s one thing too many for the otherwise potent piece, and clunky to hold. \u003c/p>\n\u003cp>It’s far more chilling to imagine a human worker in this cage, steered by an automated system instead of their own will. Here too, we are implicated: As daily users of Amazon’s services, this design was created on our behalves, to better move Amazon employees through “active workspaces.” And while this specific cage was never pursued by the company, \u003ca href=\"https://patents.google.com/patent/US9280157B2/en\" rel=\"noopener noreferrer\" target=\"_blank\">the patent\u003c/a> doesn’t expire until 2033.\u003c/p>\n\u003cfigure id=\"attachment_13875431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg\" alt=\"\" width=\"1200\" height=\"722\" class=\"size-full wp-image-13875431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/0807-uncannyvalley-200220-copy_1200-1020x614.jpg 1020w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of Simon Denny, ‘Amazon worker cage patent drawing as virtual King Island Brown Thornbill cage,’ 2019 beside work by Agnieszka Kurant in ‘Uncanny Valley’ at the de Young Museum, 2020. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the middle space between open questions and answers to questions we didn’t know we had, Kulendran Thomas’ \u003ci>Being Human\u003c/i>, made in collaboration with Annika Kuhlmann, ties together the philosophy of humanism, the history of civil conflict in Sri Lanka, the international art market, deepfakes and even an AI-generated pop song.\u003c/p>\n\u003cp>The 25-minute video plays in an elegantly arranged installation that blinks back and forth between projected image and a white-wall presentation of contemporary Sri Lankan art. Our guide within the video mulls over the concept of human rights, and its ties to Western imperialism—an especially pressing consideration for those who exist outside a recognized nation state. Then an uncanny deepfake of the Colombian artist Oscar Murillo says what might be exhibition’s greatest takeaway: “Invariably this space of theoretical equality is actually mediated by unequal powers.” (He’s talking about the art market, but the same applies to our Brave New Digital World.)\u003c/p>\n\u003cp>There is great power in the digital self: to communicate across borders, to make old gatekeepers irrelevant, to absorb and disseminate information that wants—demands—to be free. But that power is also being harnessed by those who would use it to sell us things, predict our behavior and arrest us for simply existing within a map’s red square.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Uncanny Valley’ is on view at the de Young Museum in San Francisco through Oct. 25, 2020. \u003ca href=\"https://deyoung.famsf.org/exhibitions/uncanny-valley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>[aside postID='arts_13841271' label='More Dylan']\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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