Khastoo Gallery

Khastoo Gallery closed in February 2011. The space at 7556 W. Sunset Blvd. is currently hosting exhibitions by Michael Benevento Gallery. To inquire after available artwork for purchase please contact: [email protected]. Feel free to browse this site to view our archive of past exhibitions and events.

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................................................................................ OUT-OF- ____ (Paris) Commissariat de Leila Khastoo 22.09 - 17.11. 2012 ........................................................................……. Chris Burden / Harun Farocki / David Gilbert Gareth James / Vishal Jugdeo / Peter Kirby Oliver Laric / Simon Leung / Jan Mancuska  Job Piston / Miljohn Ruperto / Amie Siegel Jill Spector / Diego Tonus / Kerry Tribe Francesco Vezzoli / David Wojnarowicz ............................................................................... Galerie DOHYANG LEE 73-75, rue Quincampoix 75003 Paris France tél:[phone] [email protected] www.galeriedohyanglee.com ...............................................................................

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…………………………………………………………………….. OUT-OF- ____ (Paris) Commissariat de Leila Khastoo 22.09 - 17.11. 2012 ……………………………………………………………………. Chris Burden / Harun Farocki / David Gilbert Gareth James / Vishal Jugdeo / Peter Kirby Oliver Laric / Simon Leung / Jan Mancuska  Job Piston / Miljohn Ruperto / Amie Siegel Jill Spector / Diego Tonus / Kerry Tribe Francesco Vezzoli / David Wojnarowicz ……………………………………………………………………. Galerie DOHYANG LEE 73-75, rue Quincampoix 75003 Paris France tél:[phone] [email protected] www.galeriedohyanglee.com …………………………………………………………………….

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Out Of _______ 

Benevento Gallery

18 January - 25 February 2012 7578 Sunset Blvd

Chris Burden Harun Farocki David Gilbert Gareth James Vishal Jugdeo Oliver Laric Zoe Leonard Simon Leung Jan Mancuska Job Piston Miljohn Ruperto Amie Siegel Diego Tonus Kerry Tribe James Turrell Francesco Vezzoli David Wojnarowicz

organized by Leila Khastoo teaser edited by Danozone

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Out-Of-_________

An exhibition organized by Leila Khastoo

At Michael Benevento Gallery, Los Angeles

18 January - 25 February, 2012

Featuring:

Chris Burden Job Piston Harun Farocki Miljohn Ruperto David Gilbert Amie Siegel Gareth James Diego Tonus  Vishal Jugdeo Kerry Tribe Oliver Laric James Turrell Zoe Leonard Francesco Vezzoli

Simon Leung David Wojnarowicz

Jan Mancuska

ARTFORUM

Critics' Picks

“Out-of- . . . . . . . . . ”MICHAEL BENEVENTO 7578 & 7556 Sunset Boulevard January 18–February 25

http://artforum.com/new.php?pn=picks&id=30190&view=print

In a midnight-blue room at the back of this gallery hangs a lonesome work (Untitled [XIX L], 2007) by James Turrell: a small reflective hologram of two polygons, joined along one edge, though both are never visible at once. Light from the doorway bounces off the piece and casts a trapezoid onto the floor, which is flecked with glitter. “Out-of- . . . . . . . . . ,” curated by Leila Khastoo, is so multifaceted, so compressed, that even in this inner sanctum, the eye darts between dozens of glinting surfaces.

Crammed facing the entrance are fifteen monitors of various sizes, fed by tangles of cables. The ceiling has been lowered to around seven feet with black WeedBlock fabric. This aggressive display further fractures one’s distracted attention. The videos themselves deal with legacy (Francesco Vezzoli’s The Return of Bruce Nauman’s Bouncing Balls, 2006, for example, which presents a view of shaved testicles jostling above a snowcapped mountain); distance from history (Kerry Tribe’s casting call for actors to play her own family in an experimental documentary); appropriation (an Oliver Laric video of slow-motion stock footage); and artistic process (Packing Fountain, 1996, by Simon Leung, in which an art handler crates Duchamp’s fountain in real time). Yet the setup layers these more or less subtle meditations into a frantic, Internet-style jumble of associative overlap, itself foregrounding the push-pull of time, or the difficulty of attention to time. Leung’s video is angled toward a mirror on the wall in yet another level of reflexivity in a room crowded with deflections. The running commentary of A Video Portrait: Chris Burden, 1989, often overpowers the other audio.

The second half of the room contains just three large photos, each on its own wall and lit by assorted lamps. Zoe Leonard’s black-and-white prints of a mortared-over window (Wall, 2002) and cinder-blocked door (Untitled, 2000/2003) contrast with David Gilbert’s The Flea Circus, 2011, which depicts a messy artist’s studio. These images yield some floor space, but remain visually confining. The false ceiling stops as one enters the back room with Turrell’s piece, which, far from being meditative or phenomenologically musing in the way one might expect, now feels positively schizophrenic. As one exits the gallery, back through the crush of plinths and equipment, the black backs of the monitors seem almost serene.

— Travis Diehl

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An exhibition and office party. With Fiona Connor, David Gilbert, Ivan Iannoli, Sean Kennedy, Leila Khastoo, Dashiell Manley, Juliana Paciulli, Job Piston, Jesse Robinson and Stephen Walters. The show title is Beige and Plastic, and it's a tongue and cheek look at poetic recycling in post-minimal tradition and reworking the mundane in a vacant office space. Please RSVP to this event to ensure entry. There will be a list at the door. Open bar (beer and wine). The exhibition will also be on view Sunday May 8th, 12-6pm.

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This event was the closing event for Khastoo Gallery on Sunset Blvd.

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For Immediate Release

Exhibition:                   Aurélien Froment and Ryan Gander

                                         Dark After After Dark

Dates:                           March 30 – May 1, 2010

Reception:              Tuesday March 30, 2010 from 6 to 8pm

Khastoo Gallery is pleased to announce an exhibition of new works by Aurélien Froment and Ryan Gander.  The exhibition consists of two separate film and video projections of singular objects in motion sharing the same voice over narrator, who accompanies the spectator from one sequence to the next, and vice versa. In Gander’s Best work EVER EVER EVEREVER EVER , 2010, a 16mm film projects a computer manipulated sequence of a mini DV tape floating through space. A sticker on the tape reveals a title handwritten in blue ink: “The violent tapes,” referring to the series of the same name by David Lamelas.  Froment’s film features a Phacellophora camtschatica, more commonly known as the egg-yolk jellyfish, as it drifts and swims behind the glass display of its tank home at the Monterey Bay Aquarium.  

Virtual to real, man-made to live, outer space to deep sea and beyond, coupled with one voice that takes us to and fro, the accumulation of scenes we encounter could just as well be documentary as fictional. Herein lies the transmission of “information” and the grid that connects the production of art and it’s perception, the role of the viewer, and more crucially perhaps, the esoteric meanings trapped between time and space. The simultaneous emission of projections and audio progress in ever larger circles, placing emphasis on significant functional elements in the micro (Berkeley Systems’ quirky 1989 flying toaster screensaver) and rippling out to penetrate even the edges of macro-reference: electronics, nature, and galaxies. However, in keeping with Froment and Gander’s interest in the cracks within these systems, a consciousness homes in on the transcendent. In the darkened space confronting gelatinous tentacles and kinetic tapes, we can reach a purpose less easily defined; a black hole in the paradigm of analysis that hits more mysterious inner workings beyond reference points and interpretations.  In this place, somewhere dark and vague but uniquely substantive, we float in and out of body and mind.

Aurélien Froment is a French artist who currently lives in Dublin, Ireland. Ryan Gander was born in Chester and currently lives and works in London, England.  This is the first time the two artists have collaborated on an exhibition in Los Angeles. 

Pulmo Marina by Aurélien Froment was commissioned by the Independent Cinema Office and LUX with support from the National Lottery through Arts Council England.

With thanks to the Monterey Bay Aquarium, Monterey CA, La Bise au Chat, Paris and La Puce à l’Oreille, Montreuil, France.

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FOR IMMEDIATE RELEASE

SMITHSHOP + STOR @ KHASTOO

a part of “Give the People What They Want”

March 1 – March 22, 2010

Brunch Reception: Sunday February 28th, 2010, 12 – 3pm

Khastoo Gallery is pleased to present SMITHSHOP + STOR @ KHASTOO, a pop-up retail installation open from March 01, 2010 – March 22, 2010. A brunch reception will be held on Sunday February 28th, 12pm – 3pm, with a Möet & Chandon champagne bar and a DJ set by NY-based artist Jimmy Raskin.  The temporary store opens in conjunction with an exhibition titled “Give The People What They Want,” featuring an art fair booth within the gallery space with new works by an international roster of contemporary artists.

The temporary pop-up store at Khastoo will occupy the storefront of the gallery and will feature a compilation of select pieces from Stor’s vintage designer clothing and accessory archive and Smithshop’s Spring 2010 line of special edition handmade furniture and interior objects. Offerings will include: Rare ceramics and jewelry by Sascha Brastoff, a mid-century LA designer whose works are in the permanent collections at both the Metropolitan Museum of Art and the Whitney Museum of American Art, original work by Eero Saarinen, mid-century glassware, Ann Demeulemeester, Dries Van Noten, Jil Sander, Judith Leiber, Lanvin, unique pieces from past eras, and more. In the main gallery space, work by Aurelién Froment, James Hyde, Greg Parma Smith, Rob Reynolds, Terri and Donna, Vahid Sharifian, Dan Shaw-town, and others hang in the style of a typical art fair booth, offering visitors and seasoned collectors work in a familiar or expected pictorial setting. “Give the People What They Want,” is a two-part exploration of art market trends and commercial behavior, and the first in a series of upcoming retail experiments by Khastoo Gallery.

Quentin Smith is the founder of Smithshop, his semi-eponymous collection of bespoke handcrafted furniture + design objects. He is also the creative force behind Stor, an independent curatorial project comprised of high-end retail, both contemporary and historical. Stor was started in New York City as a supplement to his already successful art and design blog. The venture acts as a distribution platform for carefully selected objects of interest, as well as a webspace where visitors can browse, learn, document, archive, and collect. 

Khastoo Gallery was founded in 2008 by Leila Khastoo, a Los Angeles native, interested in bringing an international and academic perspective to the artistic landscape of the city.  The gallery was recently featured inWallpaper* Magazine as one of the “USA top 40” and profiled in the New York Times. 

For more information please contact Khastoo Gallery:

www.khastoo.com

www.quentinsmithblog.com

www.storarchive.com  /  www.smithshopobjects.com

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LOS ANGELES FILMFORUM AND KHASTOO GALLERY PRESENT 

CIRCLES OF CONFUSION: A HOLLIS FRAMPTON FILM RETROSPECTIVE

LOS ANGELES, January 7, 2009 – Los Angeles Filmforum and Khastoo Gallery are delighted to present CIRCLES OF CONFUSION, a five-screening series of films by Hollis Frampton, from January 21 to February 7, 2010, with guest scholars and artists at each program to discuss his works and their influence on later artists.

Hollis Frampton (1936-1984) was an American filmmaker, artist and writer who left a legacy of brilliant innovation in avant-garde cinema. His films were challenging and ground breaking explorations in the material properties of the medium, including but not limited to mathematics, the contours of perception and cognition, and the phenomenological nature of the motion picture. Among his best-known works are (nostalgia), Zorns Lemma, and the unfinished epic film cycle Magellan.  Although few have seen (or had the opportunity to see) the full extent of his catalog, his reputation as a profound thinker and pioneer predicates the broad influence his work has had on both his peers in the 60s and 70s (from Frank Stella to Carl Andre and Lee Lozano) and artists today, from James Welling and Sharon Lockhart, to Jennifer Steinkamp, and many more.  The past few years in particular have witnessed a mounting interest in the Frampton, with important symposiums organized in the states and internationally (Princeton University, 2004; Anthology Film Archives, 2009; Centre Pompidou, Paris, 2009; Chicago, 2010), publications (Rachel Moore’s study on (nostalgia) and the Bruce Jenkins edited collection of Frampton’s writings, On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton) as well as a new release of (nostalgia) on DVD (“American Treasures IV” from the National Film Preservation Foundation).  In this retrospective of more than half of his complete catalog of films, audiences are offered an unique glimpse at what made this modernist “thinker” so significant to art history and relevant to contemporary practices in film, from pure celluloid to digital and online technologies.

Among those speaking will be James Welling, artist; Peter Lunenfeld, scholar at UCLA Yvonne Rainer, artist; Erika Vogt, artist; David E. James, film scholar at USC; Alex Klein, artist and curatorial fellow at LACMA.  More to be added!

Los Angeles Filmforum is the city's longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation.  2010 is our 34th year.

Memberships available, $60 single or $95 dual

Contact us at [email protected].  www.lafilmforum.org

Khastoo Gallery was founded in November of 2008 by Leila Khastoo, a Los Angeles native interested in bringing an international academic perspective to the artistic landscape of the city.  Shows at Khastoo emphasize the critical content of art and art making, integrating current global viewpoints with an art historical approach to programming.www.khastoo.com

This screening series is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission and the Department of Cultural Affairs, City of Los Angeles.  Additional support generously provided by the American Cinematheque

Thurs Jan 21, 7:30 pm – Khastoo Gallery, Sunset Blvd., 7556 W. Sunset Blvd. Los Angeles CA 90046; [phone]; [email protected]; www.khastoo.com

Discussion b/w artist James Welling and Frampton scholar Peter Lunenfeld from UCLA  Information, 1966, 4 min., silent 

Manual of Arms, 1966, 17 min., silent  States, 1967, 17 min., silent

Winter Solstice 1974, 33 min., silent Sunday January 24, 7:30 pm – Filmforum at the Egyptian Theater, 6712 Hollywood Blvd., Los Angeles CA 90028; [email protected]; www.lafilmforum.org Discussion or Introduction: TBD - Erika Vogt (artist) and Yvonne Rainer (filmmaker) Prince Ruperts Drops, 1969, 7 min., silent Critical Mass (Hapax Legomena III), 1971, 25.5 min., sound Public Domain, 1972, 14 min., silent  Matrix, 1977, 27.5 min., silent Sat, Jan 30, 2:00 pm – Pacific Design Center Silver Screen, 8687 Melrose Avenue

Los Angeles, CA 90069-5730; [phone]; for information contact Khastoo Gallery or Los Angeles Filmforum.  In conjuction with the Art Los Angeles Contemporary Fair, http://www.artlosangelesfair.com/ Panel following screening: Alex Klein (artist/curatorial fellow at LACMA); David James (USC film professor and Frampton scholar);  Madison Brookshire (filmmaker)

Poetic Justice (Hapax Legomena II), 1972, 31 min., silent  Nostalgia (Hapax Legomena I), 1973, 36 min., sound Sun Jan 31, 7:30 pm – Filmforum at the Egyptian Theater, 6712 Hollywood Blvd., Los Angeles CA 90028;[email protected]; www.lafilmforum.org

A Lecture, 1968, audio & performance, app. 23 minutes

Process Red, 1968, 3:30, silent

Carrots and Peas, 1969, 5.5 min., sound 

Lemon, 1969, 7.30 min., silent Surface Tension, 1968, 10 min., sound

Palindrome, 1969, 22 min., silent 

Cadenzas I & XIV (Completed Pts The Birth of Magellan: 14 Cadenas), 1980, 11.25 min,, sound

Sun February 7, 7:30 pm – Filmforum at the Egyptian Theater, 6712 Hollywood Blvd., Los Angeles CA 90028;[email protected]; www.lafilmforum.org

Introduction by David James (USC)  Gloria, 1979, 9.5 min., sound Zorns Lemma, 1970, 60 min., sound

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For Immediate Release

Exhibition:      Greg Parma Smith

    Early Work

Dates:      November 5 – December 31, 2009

Reception:     Thursday November 5, 2009 from 6 to 9pm

Khastoo Gallery is pleased to announce an exhibition of new work by New York based artist Greg Parma Smith.   Titled Early Work, the theme of this collection centers on the critical and aesthetic education of a child and the formalization of artistic desire.  In a series of meticulously painted oil on canvas works depicting crayons, pencils, stickers and other scholastic art supplies, Parma Smith offers the viewer a lexicon of creative utensils that attract libidinal fascination.  The Work in question is a child’s assimilation of rules and limits defining appropriate art-play.  For Parma Smith, integration of these strictures, regardless of whether they are tacitly accepted or explicitly rejected, helps define the path to “Artist.”  He dramatizes the schism between art’s requisite sophistication and the quirky naivety of primary creative tools, and herein the paintings stage a volley of determinate “play” against dense and developed adult practice.  The paintings mimic the exchange, assuming the discipline of classic European technique and old master painting tradition amidst the buoyancy of Crayola colors and playground invention.  Ghostly masks and gooey dots adhered to the surface of some canvases penetrate the planar field and evoke strange juxtapositions. 

The 1960s witnessed many European painters reimaging the familiar, the textures of everyday life, to extend the medium’s conceptual reach and to confront and examine the world around us.  From Konrad Klapheck to Richard Hamilton and Eduardo Paolozzi, these artists used painting as a platform for an analysis of contemporary experiences.  Parma Smith’s Early Work explores how scrutiny toward the attendant values of two pleasing tests of artistic competency, objective realism or hard-edged (coloring book) painting, is another way to step back from contemporary life. In these pictures, style of execution (gamely meeting traditional criteria such as verisimilitude and "staying within the lines") rubs up against subject matter, almost competing for the more pedagogical association.  Perhaps it’s not as dry an examination as we propose and Parma Smith lives somewhere between Sesame Street and the Hacienda.  In either case, dissolution is prevalent, as is a union of play, freedom and critical thinking.

Greg Parma Smith was born in 1983 in Cambridge, Massachussetts and currently lives and works in Brooklyn, NY.  He received his MFA from Columbia University, and in 2008 had a one person exhibition at the Swiss Institute, New York.  This will be the artist’s first solo presentation in Los Angeles.

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For Immediate Release

Artist:                            June Wayne

Exhibition:                Cognitos, 1984

Dates:  September 10 – October 24, 2009

Reception:               Thursday September 10, 2009 from 6 to 8 pm

Khastoo Gallery is pleased to announce an exhibition of paintings by June Wayne from the Cognitos series, begun in 1960 and completed in 1984.  A reception for the artist will be held on Thursday September 10th, from 6 to 8pm.

With the support of the Ford Foundation, June Wayne opened Tamarind Lithography Workshop, Los Angeles in 1960.  Expanding the boundaries of the medium, Wayne helped to revitalize the role of paper arts in the U.S., gaining international recognition as an “incontestable pioneer of contemporary lithography” [ - Jorge de Sousa]. That same year, Wayne commissioned the accomplished papermaker Douglass Howell to construct a series of highly textured large-scale canvases, composed of a mixture of gesso, gelatin, and multiple layers of paper. These weighty, almost bas-relief surfaces, were purposed as topographical base maps, to be molded, hacked at, carved, and restructured.  Their durability and sublimation proved to be a phenomenological challenge to Wayne and the artist spent nearly a quarter of a century working on these panels, painting and repainting some (as in the celebrated Sixti-Sexate, 1968 which later became Anki, 1984) and destroying others.  Like the irritant that creates a pearl, what went into the Cognitos was a tenaciously laborious and unrelenting devotion to teasing out intermediaries of flawlessness and defect.  The results, finally finished in 1984, are a series of brilliant and complex gems that uproot metaphors for the human psyche in dazzling landscapes of black, red, silver and gold. 

The term “cognitos” plays on paradigmatic existential expression (cogito or consciousness) and more familiar cognition (going back to source, the product of these processes), integrated and grouped into a plural. This body of work then marks both a teleological endgame to the original textured abstractions (the last of the Howell panels), and the crescendo of a new discovery of planetary presence, both within and without.  Each work teases out the in-betweens, to discover a ‘new’ experience or understanding hidden away in the peripheries of memory and recognized relationships. The Cognitos, with their reflective terrain of particularized built-up color and boundless perimeters, literally delineate a series of spatial events, to be exposed to physically in perspectival totality, through shifting daylight and passing time.  And as much as their iconic quality reflects messianic distance, illusion and Ganzfeld perceptive sensations, the ebb and flow of personal and private knowledge perfectly grounds each moment into everyday reality. Here the cosmos mirror nature, vice-versa, and beyond; heterogenous self-examination pervades as we reenter our Platonic cave and beat out a shadow above the Minimal and Radical. 

June Wayne was born in 1918 in Chicago.  At age fifteen, she dropped out of high school to become an artist and quickly became a regular in a pre-war circle of avant-garde writers, actors, artists and scientists.  By 1938, Wayne joined the WPA Easel Project and has since gone on to receive dozens of awards and multiple honorary doctorates. Solo exhibitions of her work have been held at M. H. de Young Memorial Museum, San Francisco (1956); Los Angeles County Museum of Art (1959); Cincinnati Art Museum (1969, Retrospective).  Public collections include Museum of Modern Art, New York; Los Angeles County Museum of Art; National Gallery of Art, Washington D.C.; Whitney Museum of American Art, New York; Art Institute of Chicago. and Bibliothéque Nationale, Paris.  In 2002 Rutgers University established the June Wayne Archive and Study Center and in 2007 published a Catalogue Raisonné of her works from 1936-2006.  She currently lives and works in Los Angeles.

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For Immediate Release

    Artist:                            Terri and Donna

  Exhibition:                  Muriel and Julia

  Dates:  July 16 –Aug 30, 2009

  Reception:               Thursday July 16, 2009 from 6 to 9 pm

    Terri and Donna is a single artistic entity and as such exists as a performative strategy aimed at ethically addressing those historical events and technologies of representation that fundamentally de-centered the subject.

Terri and Donna are fictional artistic identities and as such are discursively oriented in relation to the critique of the subject.

Terri and Donna is an art gallery and as such exists as a hyperbolic articulation of the “frame.” 

Terri and Donna is an image and as such has been and will continue to be assimilated as linguistic sign into the system of symbolic domination.

Terri and Donna make paintings and as such eschew ironic anxiety and the temptation of authentic suicide in favor of performative frivolity and psychoanalytic sincerity.

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For Immediate Release

Exhibition:  Vahid Sharifian

My Father is a Democrat and through his chimney there are always hearts flying to the sky

With a presentation of work by Mahmoud Bakhshi Moakhar in the Project Room

  Dates:  April 11 – May 16, 2009

Reception: Saturday April 11, 2009 from 6 to 8pm

    Khastoo Gallery is pleased to announce an exhibition of work by Tehran based artist Vahid Sharifian.  The gallery showroom will present a large photographic installation by the Iranian artist Mahmoud Bakhshi Moakhar.  This will be the first time either artist has exhibited in the United States. 

  Andy Warhol once famously declared that to know his work, one had only to look at the surfaces.  Whether that infers the difficulties of poetic expression in an age of celebrity obsessed mass media, the privileging of the superficial as defense mechanism, or simply a mirrored screen of projection that reflects these ideas back onto the hungry-eyed consumer, Warholian aesthetics of surface continue to penetrate the strategies of contemporary production.  In his latest body of work, Sharifian recontextualizes images of Sophia Loren culled from an out-of-print 1972 cookbook: In the Kitchen with Love. The photographs are digitally printed on holographic paper, and surround an oversize birdcage sculpture that holds plastic fruit.  As with his Western counterparts, the surfaces are never just one thing (a mimicry of the hologram where the reconstructed depth in painterly illusionism confronts the Baudrillardian internalized projection) and certainly transcend Pop Art’s obsession with glamour and capitalism to include more surreal collective fantasies.  Sharifian’s work touches on themes as wide-ranging as public personality, individual identity, sex and food, queer culture, and the recent political history of the artist’s home country.  

  Surface logic is given a more ascetic treatment in Mahmoud Bakhshi Moakhar’s installation of 64 photographic postcards of flowers, shot by the artist in his studio and captioned according to plant specie, location and date.  Beyond the monastic markings of time and space (the photographs were taken over 64 consecutive days with the flowers bought at the same shop near the artist’s studio) or the topographical exploration of beauty and allegory, Bakhshi Moakhar’s flowers remind us of the uneasy and precarious advertising of Iran to the outside world.  What may appear complete or valuable on the surface belies the complex interpretation deserved of the realities just beyond. 

  Vahid Sharifian and Mahmoud Bakhshi Moakhar are both Iranian artists living and working in Tehran.  Currently the artists are included in the exhibition “Raad o Bargh” at Thaddeus Ropac Gallery, Paris.  Sharifian has previously exhibited at the ICA, London, and for several years served on the board of the progressive visual arts journal Tandis as writer and editor.  Bakhshi Moakhar has exhibited work at the Barbican Centre, London, Museum für Neue Kunst, Freiburg, and  Arario Gallery, Beijing.  

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