Open Call: Raze the WhiteBox focus group

Looking for artist, performers, movers, makers, doers, and facilitators with general inclusiveness that are not afraid to question identity, self and others.
The challenge will be seeing yourself outside of yourself. A reexamining of set ways of seeing and believing.
This piece will be a remake of a historical performance.
Potential for career altering exposure to general merriment in a semi large scale.

Project to be fleshed out in the new year to be presented in late 2017 to early 2018.
Diversity in group is a must.

Contact: info@razethewhitebox.com

Rememebring Something that Comes to Me at Every Life- A Rose Perished

I do miss you, a rose that perished.

I imagine your color is much more yellow.  Your smell much more sweet.  I hope your roots are stronger and your highest vine higher than before.  I still think you were the perfect one.  Despite your beauty you were contained and restricted by a cancer of doubt.  A cancer easily developed.  Something I to felt.  Delusions of your form are always present.  More vivid when I sleep.  I have no answers only questions.  A bond through the ages, maybe, destined to always be almost.  I fear to reach out because your space is sacred, I rather leave it to someone else's doing.  I had your image in my mind before I knew you, therefore I can't forget what was there before me. 

Body Works: Five Senses (DivineBrick in collab. w/ Wes Johansen and Z.Vital)

Whereas watching  Izella Berman with Jean Paul Jenkins and Mitchell Brown

 

Whereas

 

 

DivineBrick in collab. w/ Wes Johansen and Z.Vital

“A Rosie Smell, Still Turns My Nose if Grown with Distaste”
game experience in three parts (grey 3)

Viewer this is your part of this game. A simple description to still allow the experience to be new.

Part one
When invited to the Chamber feel welcome to come along. The space you hold sacred around you will be respected, all that is asked from you is to exist at a moment with another force other than yourself. You are free to leave at anytime, until another is chosen. We are mirrors to each other.

Part two

Come closer to the figure(s) that move under the light. Come see this moment as a landscape in which you hover over. See yourself in these/ this figure(s) as floating world(s), only now able to see the pale blue delicate soup that you are. Harmony easily broken with any influence dropped in. Decipher your roots.

Part Three

Five with frogs follow the figure(s), the rest follow the five. Five lead us all to the next experience when this ones complete.

Photos by Andrew Hall

Raze the WhiteBox- DivineBrick in Collab. w/ Mike Meanstreetz and Z.Vital @ Human Resources, Chinatown, LA, Ca

Raze the WhiteBox from Eon Mora on Vimeo.
Raze the WhiteBox

DivineBrick in Collaboration with Mike Meanstreetz and Z.Vital @ Human Resources, Chinatown, LA May 10, 2016

Video By Eon Mora


www.razethewhitebox.com

Click on Title of Vid to Enlarge

Future Loop

Music uploaded by artist data mined by AI. AI used to produce pop music and music funded by a panel voted through swiping on initial appeal. Laptops are given to artist in impoverish areas to have a variety of demographics from which to mine from. Artist soon start using the hacked AI software as well.

Four Direction Prayer

One Human being presented on this Planet (under his feet=Earth, above
his head=Outer Space).

Standing toward to East (Sunrise, Future, Possibility, make things better).

on his Back=West ( Sunset, Past, Ancestors).

on his Right=South ( symbolized an old lady carry basket full eggs &
seeds. Nurture, Next Generations ).

on his Left=North (symbolized an old man with wisdom through his

experience. Teachers, Elders)

His body deform to Bird (to cross the sky), to Monkey (Hug a Tree), to be a Tree (Gather Energy of the Earth).

He release the Energy of the Earth through his body to the Sky, Carry back Sky into his body (Emptiness).

He presents himself to each direction, through his empty body, the
element of the direction blow through his body and exchanged to
opposite direction.

Dance of Life= Four Direction Pray
taught by Txi Whizz in Vancouver 1983

—Hiroko Tamano

Q3 Pop-up Gallery

 

Performance on 9/11

Divinebrick in Collaboration with Mike Meanstreez and Z.Vital @ Human Resources LA May 10, 2016

May 10, 2016 9:30 pm

Human Resources, Los Angeles, Chinatown
410 Cottage Home St
Los Angeles CA
90012 

in collaboration with Mike Meanstreetz from the LA band Present (drums) and Z. Vital (loop effects) to close this circle.

Bass pushing air, creaking, cracking a wooden device called the Basso, to set the bio and molecular rhythm of the space. A device, part bazooka subwoofer speaker, part drum, and part bellowing feedback loop. Supplier of urban noise this wooden sub-woofer will be the splintered connection to indigenous past. A past rooted in a vibration.  A slight alteration.  

A exploration in movement called Corporeal Reformation will occupy the rest of this space. Inner woven reaction to time, space voice and body, will be aided by the pulse of the sub, riding on witnesses inside a WhiteBox as landscape with their collective voices to activate our collective memory.

Sound, Movement and Voices will, I hope, conjure somewhat of a memory in us all.  A dormant behavior that is of a collective experience and a collective understanding.  If only for a second, a fleeting moment of understanding, may we forget the destructive philosophy that we follow without question.  This “performance” is more of a hot box of possibility.
 
Free to voice yourself.  We will need you to be the creepy crawlers in a night by the lake.  The many gorgeous songs on a perfect night while we form the body of water and the movement of the sky.  Be the bubbling pot that is the voices at a crowded bar.  The musical conversations on a semi crowded bus.  The silly conversation over heard by reason of proximity.  This WhiteBox will converge to be a primordial soup of abstraction of Growth and collective participation, a dance easily achieved by living.

This is a collaboration, concept by DivineBrick, vocal loops by Z. Vital, and textures and rhythm by Mike Meanstreetz.  At center the Basso.


Trying to reclaim some sort of indigenous or forgotten belief or behavior is close to impossible when these things have been destroyed or co-opted. Where does one turn if their past does not exist to borrow from it? Sometimes the things that the colonizer has stereotyped as “indigenous” become the only symbols on which to connect to, either in act of dissent or in hopes of connection. This will further convolute this already broken system. This semiotics are also the way the colonizers themselves find ways of connecting to more holistic styles of existing. Unearthing resources and the destruction of land not only uproots the indigenous people but also further removes the colonizer from forgotten memories of coexisting, not occupation of this land and its inhabitants (this includes plants and animals). Soon the definition of colonizer and the colonized bleeds into a convoluted One.

*instructions will be give on arrival.

josie j, Mike Meanstreetz and Z. Vital have collaborated on may projects and events including Parallax Beach (An exploration in primordial development in time).

 
https://mikemeanstreetz.bandcamp.com/
http://poopdood.bandcamp.com

FB Event-  https://www.facebook.com/events/986952711382236/

HR website- http://humanresourcesla.com/calendar-events



  

Proposal For Human Resources LA Decolonize LA

Proposal for “Raze the WhiteBox”

To raze the WhiteBox will be a symbolic action of a greater deconstruction.  Working within models of colonization will only develop concepts consumed by colonizing behaviors.  Dismantling of this gallery space would be the only method to decolonizing it.

The WhiteBox (any gallery or museum space that hermetically isolates artwork) in its design and conception will always contain/own an object or thought.  Property and borders are red flags of colonization.  Dismantling a structure which is designed to contain objects and thoughts within 6 sides would be the action to decolonize it.  Cement is not fertile ground, it is dead inactive space.  A public space that allows community, inspiration and creativity does not exclusively exist as a collection or claim to ownership as does a museum or gallery.  Community, inspiration, and creativity by their very nature will always remain fluid and un-owned.  These three concepts only empower when used by the collective mass.  The process of decolonizing spaces will involve replacing structures in which people collectively perform these concepts.

The remaining land, once this WhiteBox is dismantled, should be a network in which Peoples (any groups that have internalized a colonialist ideology) can regain a culture, but also regain what mother nature once offered in its harsh but nurturing way. The colonization of a People resulted at times with a simultaneous colonization of the land as well.  Returning the land to its state of natural symbiosis will plant the seed of change that is necessary for this wounded earth to remember its role and for us to see its glory.  This demolition is the only holistic therapy/ cathartic ritual that will remember the many forgotten People, forgotten knowledge, and resources that the colonizers either stole or destroyed.  A WhiteBox and its confining walls symbolically and literally censor the past and the land onto which it has rooted itself.

The demolition will be followed by the introduction of indigenous plants and animals.  This will inhabit the majority of the land and be integrated in whatever else is built.  Some land will remain for agriculture and a stage/ gathering area for community and artist use.  In the decolonization of this WhiteBox we must not forget about the inheritors of the colonized state of mind, the children.   A place in which children could learn how to engage with nature and relearn the art of symbiosis would replace the structures that now exist on 410 Cottage Home St.  If any structures will be built, they will remain small, since the land itself should provide a stage or setting for most things.  Monetary means are intangible compared to community action and the blood and sweat of artist and activist. The land will be kept by its users.

 If life is art how can life exist in a vacuum?  Can the only definition of what art is be contained within a closet, which doors are only opened by someone with the means to own this space? Art removed from life, suffocated in a crate... Is this inspiration?  Is art an object free from worldly interaction? Is it a phenomenon sheltered by the very thing that causes its chain-reaction?   Transporting artwork produces waste, does this ill benefit this earth?  Is a space built like a fortress a structure that welcomes the collective mass?

The brick unit is the beginning of growth. The straight lines imprisons the dirt, the self, the ripple of effect. - Raze the WhiteBox: A Think Tank of Change

May 1, 2016

On Art Practice and Corporeal Reformation

The practice that is this work is not about criticizing colonialism,  it is a allegorical response.  A very personal response that I might sometimes consider a universal response.   The hope is to filter down not the philosophy but the intent, to get to that universalism.  A simple state of being that is efficient only in its holistics.   Free of biases and specialization, my hopes is to find a way to learn and observe, to live and exist, to breath and touch, to forget by remembering.  For now I see this universality as growth, be it cancer, population or regeneration.  Finding the precise balance to explore the external and the internal self is one of the challenges with this exploration of this growth.  Why the self?  It is the first sensor that we are given to understand this Growth.  I theorize then that this must be the best at understanding this Growth, holistically each part of the self canceling out the inherent biases.  

This exploration as it pertains to the physical and movement I have called Corporeal Reformation.  Corporeal Reformation is the act of remembering and learning.  It seems to me that performance work is the most radical thing I can do with art.  It sets no boundaries between active and passive.  We all become part of the community once again.  My question would be which community is this we are suddenly a part of when experiencing a performance.  The performer or the audience?  Are we invading or uniting?  Depending on approach a public performance can be a continuous state of colonizing.  I think the only way to remedy this is by the passive and the active both being in full effect, and transferring between the hosts (the colonized and the settler). 

So it seems that the act of decolonizing can be many messy deeds. In a post-colonial system the colonized and the settler becomes muddled and both become agents of each others restrictions.  They both share the initiation rituals of the colonized.  Both share symbols and stories in which the powers that be, the first settlers have establish.  The colonized start to assimilate the settlers approach,  find new land, growth credited partly from new places that one has never seen nor understood.  The settlers lost in empty promises lose their own heritage in hopes that assimilation and whitism will provide more than what came before, since it has made a few wealthy and untouchable.  Little do they know that the settlers are cattle just as the colonized are the human resource that is a staple of an industrialized nation. 

Release Party (La Cita)/ Toad Removed (Audio Track)

La Cita DTLA Tape Release Event

February 2, Tuesday I will be performing along other artist at La Cita's Experimental Night.  8pm no cover.

 In collaboration with Brennan Lowe part of my set will have video accompaniment. 

Part of the continuing Island of Misfit Toys night at La Cita, this event is also the Parallax Beach/ DivineBrick Tingo Tongo Tapes split tape release.  The tape contains recordings of sounds connected to movements of body once witnessed.  The audio can rightfully stand alone but without the movements that once occurred in tandem, the full concept and experience is lost.  In method of Corporeal Reformation each visceral performance can only have that one outcome.  Context and setting influences the movement.  Truth be told there is video of these particular performances, at a particular place, with movement repeated but not rehearsed, on my site.  Feel free to inquire.

Parallax Beach is a collaboration with Brennan Lowe (movement), josie j (movement), Mike Meanstreetz (sound), Zach Vidal (sound), and Wes Johansan (video).  The tape contains audio from Parallax Scroll a work that explores concepts of primordial beginnings.

FB: https://www.facebook.com/events/1005498732844637/permalink/1011279192266591/


The audio from my solo project DivineBrick is the audio from the winter west coast tour I went on in 2014.  Each track is an individual work with form and mood. Tracks also contain sound from the Butó Flutó a wooden/ electronic headware.  

Here is a sample track from the set.

https://divinebrick.bandcamp.com/releases


Unfolding reforming a motion toward expansion. Meeting points in which this toad will be left for fine.  What will out last the green growth , the crawling friends, the moisture alive? A new form of exploration, fast, but rolling as a troll.  Finding shelter in destruction. Full round we have something oozing out the other end.  Still pulsing still growing. 

Accompaniment by the Butó Flutó.