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