Sara Magenheimer

language and abstraction / form in the realm

TUESDAY, NOVEMBER 13, 2018 — 6:30 PM

WATTIS INSTITUTE

360 KANSAS STREET

SAN FRANCISCO, CA, 94103 – MAP

415 355 9670

presented in association with the CCA Wattis Institute and Untitled Art, San Francisco

This screening is presented in the context of Léonie Guyer: form in the realm of, presented at CCA Wattis Institute October 18–December 15, 2018, in association with Untitled Art, San Francisco
Drawing inspiration from the Wattis Institute’s exhibition Léonie Guyer: form in the realm of, this program presents film and video works which explore personal symbologies, the nature of mark-making, the limits of verbal enunciation and assertive and non-assertive abstractions at the thresholds of the visible. Cryptic questions—verbal, post-verbal or visual—are presented; the answers provided are not as expected. Screening to include ascensions(2017) by arc, a 16mm “window onto eternity” composed of conflicting images and afterimages, both abstract and concrete; A Minimal Difference (2012), Jean-Paul Kelly’s 2012 fusion of modernist abstraction with contemporary news images suggesting disaster; Victoria Fu’s Bubble Over Green 1 (2015), a densely layering of gestural and mechanical art-making gestures; and two works by Sara MagenheimerNothing Comes from Talking (But Sound) (2012) and Seven Signs that Mean Silence (2013) which celebrate both the grace and absurdity of western linguistic symbolism while “meditating on the in-between places and negative space where meaning hides out.” Screening is bookended by two more 16mm works—Hollis Frampton’s Palindrome (1969), a compendium of organic abstractions “metamorphosed from the chemically mutilated flesh of color film itself” and Chinese Series(2013), Stan Brakhage’s final film, literally scratched onto “spit-softened emulsion with bare fingernails” several months before the filmmaker’s death.