The Music Issue features | David Molina (Art) | Dan Dion (Art) | Michael Musika (Literature) | Afterlife (Style) | Vacation SF (Style) | Old School Cafe (Dine) | Urban Bedrooms (Design | Home)| Foggy Notion (Design | Home) | The She’s (Music) | Emily Jane White (Music) | Divisadero (Community) | Pinball Museum (Beyond SF) | Bakesale Betties (Beyond SF) | Rose Gold (Feature) | Vinyl Peddlers (Feature)| Om Records (Feature) | Karaoke Masters (Feature) | BART Musicians (Feature) | Radio Habana (Nightlife) | Nightlife Photos | Bells (Music) | Judgement Day (Music) | Silver Swans (Music)
Hello Family and Friends!
I am curating a solo exhibition for musician, composer, and artist David Molina. He is featured in the upcoming issue of Asterisk SF Magazine. The show will be wonderful and it is his first gallery exhibition in San Francisco. With over 17 years of composing, music and instrument making, sound installation work, and theatrical production work, we are extremely happy and excited about his upcoming show. Please read the curatorial statement below and join us on January 17, 2013 from 7-10 pm!!
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Join us for our first event of 2013 in celebration of the Music Issue and the opening of Transience: The Work of David Molina. An exhibit on the art of sound.
Transience provides a retrospective look at David Molina’s theatrical scores and music compositions as well as his collaborative works with Bay Area artists including Garrett La Fever, Mickey Tachibana, Cause Collective, Susie Valdez, Victor Cartagena, Violeta Luna, Roberto Varea, and Anna Geyer. The exhibition presents existing and new interactive works such as Memory Web, which showcased at the 2012 San Francisco Fine Art Fair. For this particular exhibition, Molina will be presenting his latest interactive work, Rusting Souls, which entailed a deconstructing and reconstructing of the Cimbalom, an instrument originally from eastern Europe.
Spanning Molina’s installation works to a comprehensive discography, Transience assembles a collection of intricately re-imagined instruments, such as Homage to Musee Mecanique: A Game Of Time, The Chimes of Seven Spells, The Broken Heart Sings, a plethora of parts pieced together to create a multifaceted and unique experience of sound.
Hearing has the capacity to command our being by forcing us to listen and understand the world. The imagination works in conjunction with sound allowing us to envision our environment or awaken a long obscured tale. The works in Transience seek to envelop the listener into narratives and a tactile experience of music. With no specific starting point other than the listener, the exhibition emerges as a study of contemporary music making and how stories can be told through beautifully and meticulously strung notes by the artist-musician’s hand. Transience is an examination of how music affects our understanding of personal histories and interactions as well as our perceptions of sound.
- Dorothy Santos, Arts Editor + Curator
Last year was the inaugural Urban Prototyping (UP) Festival, which is a Gray Area Foundation for the Arts initiative. What exactly is urban prototyping? Easy. Watch the video. Not satisfied or don’t have much time to watch the video? Okay, I’ll try to offer a simple, straightforward answer. Urban Prototyping entails gathering artists, technologists, makers, or anyone interested in creating something useful, fun, and engaging for city dwellers as well as visitors and re-imagining the urban environment. From a heart-shaped device capturing your heartbeat and turning it into a musical composition to a street planter using bio filters (yes, urine in this case) to re-purpose waste material, Urban Prototyping re-envisions urban space, landscape, and experience.
On a cool, breezy summer evening, music emanates from the middle of the block on 18th Street, steps away from Dolores Park. The lovely voice of a woman summons, rather easily, others to a delightful space. Stepping inside, there are vibrant and colorful drawings of sweet breads and cakes adorning the walls. The music that lured people in is just as intoxicating as the wine and food served. A songstress taps at an upside-down metal bucket fashioned into a stringed instrument while singing with perfect key and timing. Looking around, the tables are filled with people and food. One of the chefs for the event walks over with sushi wrapped in nori with intricate laser-cut patterning. Sitting down on one of the benches and with possibly the freshest ceviche ever made, it was hard not to feel captivated by the warmth and uniqueness of the space—not your average closing art exhibition. Yet, this is the constant environment and ambiance found at nonprofit organization 18 Reasons.
In 2007, Bi-Rite Market took over the space formerly known as Blue Space from founders Cliff Leonardi and Dan DiPasquo. Paying homage to the iconic San Francisco 17 Reasons sign that served as a part of the Mission District skyscape, Bi-Rite decided to rename the event and gallery space to 18 Reasons after its new home on 18th Street. Despite the bustling surroundings and wide array of eateries in the area, 18 Reasons unites an undeniable combination of art, community, and food. With the objective of creating community through food and art, the programming literally and figuratively caters to the diverse San Francisco community.
The multifaceted approach toward community engagement requires programming and interfacing with the public in ways that offer new perspectives to the community through the arts. Eighteen Reasons offers not only an exploration of food and cooking, but also a multitude of approaches that touch upon more complex issues. Art serves as a great vehicle for broaching real-world problems in relation to consumption and our overall relationship to food. Regarding the greater curatorial practice, 18 Reasons curator Casey Carroll elaborates on her vision of the space as a gallery: “Beyond encouraging pleasure and a deeper appreciation of food and those that produce it (both the environment and our farmers), my vision is to push the envelope and encourage open dialogue that addresses some of the rougher sides of food: commodification, labor infringements, animal abuse, poor nutrition, hunger, and beyond.” Carroll adds that “each art show is tailored to the individual artist and the concept or vision that guides their work. What sets our programming and curating at 18 Reasons apart is that the art on the walls never stands alone. The programming that surrounds each display showcases its interconnection and interdependence with the culinary arts and social practice.”
Lastly, the art programming at 18 Reasons entails the Bathroom Residency. Yes, it is exactly what you think. The yearlong artist residency allows for an artist to create artworks for the 18 Reasons restroom. Believe it or not, this takes an incredible amount of innovation and strategic thinking around how to utilize the space. Granted, many restrooms have some sort of decorative artworks, but these residents make using the space an unforgettable experience. Carroll describes the Bathroom Residency as “the second piece in a long-term project entitled The Residencies, which launched in 2009 during Julie Kahn’s stay at the Headlands Center for the Arts. Julie decided to take over our bathroom for the year and install amazing works of art that ranged from Eucalyptus branches springing out of the wall to laser-cut nori. Julie wanted to stay true to our roots and make the residency feel seasonal, which is why each artist has four different installations over the course of the year.”
Originally posted to Asterisk SF Magazine + Gallery site, please view here