Frame Rate: Memories Digitized

Images by Ruben Preciado.

Featured Filmmakers:
Walter Vargas
Will O’Loughlen
Sharmaine Starks
Kandi Cole.

This program is organized by Gemma Jimenez and Nicole Ucedo

Workshop Sign-Up Link

Screening RSVP Link

LAND (Los Angeles Nomadic Division) and EPFC (Echo Park Film Center) are pleased to present Frame Rate: Memories Digitized in partnership with Tlaloc Studios on Saturday, June 10 from 2-6pm.

Through a hands-on film workshop and screening of films by local artists, Frame Rate: Memories Digitized, intends to gather community members to engage with neighborhoods and sites around us, prompting consideration of how we memorialize these spaces. 

The collaborative workshop will begin at 2pm at Tlaloc Studios where EPFC instructors, Gemma Jimenez and Nicole Ucedo, will lead the group through a super 8 filmmaking workshop. The class will watch films made on super 8, load film, and then go on a neighborhood walk to document the historic South Central LA neighborhood on film. LAND and EPFC will process the film and share the class’s work after the program.

This workshop is for adults (ages 18-30) who are interested in learning how to use analogue cameras and explore the process of filmmaking,  prioritizing BIPOC individuals local to South Central LA.

EPFC and LAND will provide the film cameras and lead a workshop on using the cameras followed by an approximately 1 mile walkthrough of the neighborhood surrounding Tlaloc Studios. During the walk EPFC instructors and Ozzie Juarez of Tlaloc Studios will share the neighborhood history and guide participants on using film cameras to create a visual diary of the area. Space for the workshop is limited to 15 participants. Participants should be prepared to be outdoors and walking for about an hour. All equipment and material will be provided by EPFC.

Following the workshop, we will hold a screening at Tlaloc Studios with a series of films made by local South LA artists drawn from EPFC archives. Filmmakers will be in attendance to partake in a post-screening discussion. Food and refreshments will be served. This portion of the program is open to all.

Participants may attend both the workshop and the screening or just one of the events. 

Spots for the workshop are limited to 15; to join the workshop please fill out this form. To attend the screening which starts at 5pm, RSVP here.


About Echo Park Film Center

Echo Park Film Center (established 2001) and the EPFC Collective (launched 2022) provide all-ages community film/video workshops, screenings, resources and residencies in Los Angeles and around the world. The EPFC Collective is a fluid and ever-evolving multi-generational, multi-cultural working group that shares an array of skills, experiences, and interests. EPFC is united by the power and joy of collaborative creative practice to support and strengthen community.


This program was made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.

Frame Rate: The Margins of Dream Language


The Margins of Dream Language: Experimental Korean Female Filmmakers Curated by Seokyoung Yang

Co-presented by LAND, GYOPO, and LA FilmForum

When image and language are paired together, written and spoken words can reposition the image’s hierarchical role and create an opportunity for a new point of view. In this film program, Korean female filmmakers use text itself as a material—either directly burned into the film or inserted as voice over—to push cinema towards a radical location or realm, engaging with an expansive legacy of colonial power dynamics. This screening, curated by Seokyoung Yang, includes works by Eugene Mayu Kim, Heehyun Choi, Woojin Kim, Onyou Oh, and Boyoon Choi, an essay by Jae Min Lee and will be followed by a conversation between Seokyoung Yang and Jae Min Lee.

ASL interpretation will be provided.
Please note that RSVP does not guarantee entry.
Masks are kindly required.

Rei, Daddy, Liberty

Eugene Mayu Kim
Fhd, 15min.

This Isn’t What It Appears
Heehyun Choi
Super 8 to HD, 19 min.

Korean Dictation Test_You Will Have to Answer Questions You Hear
Woojin Kim
Single Channel Video
Installation, 7min

Whispers in the Water
Onyou Oh
16mm to digital, 9 Min.

How to Be an Expressive Artist
Boyoon Choi
HD, 26min.

About the Curator

Seokyoung Yang (she/they) is a filmmaker, poet, and curator dedicated to artistic experimentation. Born and raised in Korea, she investigates the correlation between language and diasporic identity. Her works have been screened at San Diego Asian Film Festival, Seoul International Women’s Film Festival, Minsheng Art Museum, and Minnesota International Film Festival. She has previously worked for the Camden International Film Festival programming team.

About the Writer

Jae Min Lee, she/her, is a writer born and raised in the busy city of Seoul in South Korea. Jae Min is an enthusiast of cinema that is created through an anti-colonist, non-male, non-white viewpoint and that challenges the status quo. She uses writing as a medium to show her appreciation for said media and further criticizes ones that continue to reinforce the colonialist status quo. Jae Min is currently in the senior year of her undergraduate studies at Smith College, majoring in sociology and film and media studies.

About LA FilmForum

Los Angeles Filmforum is the city’s longest-running organization screening experimental and avant-garde film and video art, documentaries, and experimental animation. 2023 is our 48th year.


GYOPO is a collective of diasporic Korean cultural producers and arts professionals generating and sharing progressive, critical, intersectional and intergenerational discourses, community alliances, and free educational programs in Los Angeles and beyond.

Frame Rate is LAND’s screening series, presenting film, video, and moving image works in site-specific contexts. Reflecting the diverse ways contemporary artists engage with visual culture, Frame Rate allows audiences intimate access to artists’ works and creative process. Unlike conventional formats, Frame Rate invites artists to propose and present new work, works-in-progress or ideas that comprise the multifaceted influences informing their creative practice.

LAND’s 2023 exhibitions are made possible with lead support from the Offield Family Foundation, the Jerry and Terri Kohl Family Foundation, and The Perenchio Foundation. Additional support is provided by the Fran and Ray Stark Foundation, the Mike Kelley Foundation for the Arts, the Los Angeles County Board of Supervisors through the Department of Arts and Culture, the LA Arts Recovery Fund, Brenda Potter, the Wilhelm Family Foundation and LAND’s Nomadic Council. Special thanks to Artist Sponsors Karen Hillenburg, Liana Krupp, Abby Pucker, Stacy and John Rubeli, Ben Weyerhaeuser, and the Poncher Family Foundation.

LAND is a member of and supported by the Los Angeles Visual Arts (LAVA) Coalition

LAND is a member-supported organization. Support LAND’s free, public programming by becoming a member today.

Frame Rate: Dami Spain curated by Jheanelle Brown

Photos by Bradley Hale.

Q&A between Dami Spain and curator Jheanelle Brown
July 2022

LAND (Los Angeles Nomadic Division) presents Frame Rate: Dami Spain curated by Jheanelle Brown, featuring a multi-channel video installation and durational performance. Act 001 follows the video’s protagonist through desolate and unfamiliar places in search of understanding herself and her place in the world. The immersive experience takes attendees through our heroine’s experience of self-reflection in a new, unknown world. She contends with the following questions: Where is she? How did she get there? Is there a greater reason for her existence? Can she be liberated and have autonomy in this new world? Act 001 employs time travel, multi-dimensionality, and circular time theory to imagine new possibilities of living on this plane.⁠

Director, Producer, Editor: Dami Spain
Starring: Dami Spain
Cinematographer  and Drone Operator: Vasilios Papitios
Music: Hello by Dami Spain, Finale by Dami Spain & Masao

Director, Producer, Editor: Dami Spain
Starring: Dami Spain
Camera Operator: La Femme Bear
Music: Away (Bapari Remix) by Dami Spain & Veronica Jane

Director, Producer, Editor: Dami Spain
Starring: Dami Spain
Cinematographers: Bby Shamu, Dami Spain, Vasilios Papitios
Music: Reasons by Dami Spain & Bapari

JUMP III was made possible with support from The Transgender Cultural District

Director, Producer, Editor: Dami Spain
Starring: Dami Spain
Cinematographer: Bby Shamu
Music: Float by Dami Spain

This program was made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.⁠


About the Artist

Dami Spain is a performance artist, musician, and filmmaker born and raised in California. She harnesses afro-future themes of time travel, multi-dimensionality, and circular time theory to imagine new possibilities for this physical plane. Her education in music, dance, and acting started in high school and continued through college until her career as a performing artist was sparked in San Francisco. In the past 5 years she has performed at A.C.T. The Strand, REDCAT, The Broad Museum, CounterPulse and more. She has shown work across the US and internationally performing in Montreal, Canada and Mexico City, Mexico. In 2020, she released her debut solo music project titled “Dawning”.


About the Curator

Jheanelle Brown is a film curator/programmer, educator, and writer based in Los Angeles whose curatorial practice creates frameworks to explore the boundlessness of Black life in experimental and non-fiction film and video. She is interested in the space between fugitivity and futurity and elevating an ethic of care, with an emphasis on Caribbean film/video and the L.A. Rebellion. Jheanelle is a programmer for Los Angeles Filmforum and on faculty at California Institute of the Arts and Otis College of Art & Design. Her exhibitions and programs have been presented at Art + Practice, Museum of Contemporary Art Los Angeles, the National Museum for African American History and Culture, 18th Street Arts Center, Project Row Houses, and articule gallery, amongst others. At this moment, she is dreaming about cosmic marronage whilst trying to remember her terrestrial obligations.⁠


About Arts at Blue Roof

ARTS AT BLUE ROOF is a nonprofit arts organization dedicated to providing arts programming and resources to our South Los Angeles and the Greater Los Angeles community through our artist residency, “A Room of One’s Own,” which provides FREE studio space and professional mentorship for women artists. We are an LGBTQIA + inclusive community.


Frame Rate is LAND’s screening series, presenting film, video, and moving image works in site-specific contexts. Reflecting the diverse ways contemporary artists engage with visual culture, Frame Rate allows audiences intimate access to artists’ works and creative process. Unlike conventional formats, Frame Rate invites artists to propose and present new work, works-in-progress or ideas that comprise the multifaceted influences informing their creative practice.

LAND’s 2022 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terri Kohl Family Foundation. Additional support is provided by the Fran and Ray Stark Foundation, the Los Angeles County Board of Supervisors through the Department of Arts and Culture, the LA Arts Recovery Fund, and LAND’s Nomadic Council. Special thanks to Artist Sponsors Karen Hillenburg, Brenda Potter, Abby Pucker, Jay and Deanie Stein Foundation Trust, and the Poncher Family Foundation.

LAND is a member-supported organization. Support LAND’s free, public programming by becoming a member today.


Frame Rate: Bapari

Interlude & Daybreak, Directed by Alima Lee, 2021. 

Join LAND at The Lash to celebrate LANDxAIR ’21 Artist in Residence Bapari’s video release for Interlude & Daybreak off their EP Daybreak! The screening will be followed by DJ sets by: 6999, Dangerous Rose, Bianca Oblivion, Venganza, and Buckmonster. Hosted by: Skullsqwat, Hex Hudosh, Saturn Rising.

Earlier this year LAND’s Associate Curator Hugo Cervantes sat down with Bapari to discuss their debut EP Daybreak, their time as a LAND x Air resident, their musical process, and to speculate on what the music of the future will sound like.  Click here to check out the interview. 

Purchase the  Daybreak EP HERE

Bapari (aka Arielle Baptiste) is a Haitian-American musician, producer and DJ. They have released music with Popcan Records, Mollyhouse Records, Chroma NY, XXIII and Internet Friends. In addition to producing for a number of recording artists, their debut solo EP will be releasing this March. Bapari has created soundtracks and scores that have been featured at Roy and Edna Disney/CalArts Theater, Redbull Music x Compose LA, as well as New York Fashion Week. They’ve headlined Boiler Room LA, played Melting Point & Papi Juice in New York, as well as numerous parties across the USA. Bapari DJs and hosts the monthly show Puffy on NTS radio and last year served as the tour DJ for Steve Lacy. Their musical style explores electronic experimentation to create anywhere from unique underground club tracks to genre-bending sonic landscapes. Most recently Bapari was selected for the LANDxAIR artist residency program hosted by Los Angeles Nomadic Division and Werkärtz and last year they were accepted into a two-year residency program by NAVEL, the artist collective and performance space in downtown Los Angeles. They formerly played drums in the punk band F U Pay Us, as well as soccer for the Haitian national team.

Frame Rate is LAND’s screening series, presenting film, video, and moving image works in site-specific contexts. Reflecting the diverse ways contemporary artists engage with visual culture, Frame Rate allows audiences intimate access to artists’ works and creative process. Unlike conventional formats, Frame Rate invites artists to propose and present new work, works-in-progress or ideas that comprise the multifaceted influences informing their creative practice.

LAND’s 2021 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terry Kohl Foundation. Additional support is provided by the the Los Angeles County Department of Arts and Culture, the California Community Foundation, the J. Paul Getty Trust Foundation, Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

Hear before hereafter

 Hear before hereafter 

Reynaldo Rivera, Vanessa at Silverlake Lounge (1995)
Akram Zaatari, Mourning Images (1995)
roula nassar, The smuggler’s dream (2021)
Christelle Oyiri, Collective Amnesia : In Memory of Logobi (2018)
Jayce Salloum, untitled part 9: this time (2008, 2020) 
Basma Alsharif, Deep Sleep (2014) 

Hear before hereafter is a weeklong film program that runs from June 30 to July 7, 2021. Each film is posited as a music video, where image follows sound. Sound and sense-making drift alongside one another in improvisatory beats. A withdrawal from distinction yields resonant gestures. Meaning, then, becomes only in the bodily letting go of. That letting go of necessitates a listen first or a listen only rather than a listen closely.  

Hear before hereafter is curated by Perwana Nazif.

Flyer by Kayla Ephros

This screening is made possible by a grant from the City of Los Angeles Department of Cultural Affairs.

Image credit: Mourning Images Akram Zaatari 1995 | 00:06:10 | Lebanon | Color | Stereo | 4:3 | BetacamSP video. Images copyright of the artist, courtesy of the Video Data Bank at the School of the Art Institute of Chicago,


LAND’s 2021 exhibitions are made possible with lead support from the Offield Family Foundation and the Jerry and Terry Kohl Foundation. Additional support is provided by the the Los Angeles County Department of Arts and Culture, the California Community Foundation, the J. Paul Getty Trust Foundation, Fran and Ray Stark Foundation, the Chauncey and Marion D. McCormick Family Foundation, the Poncher Family Foundation, Brenda Potter, and LAND’s Nomadic Council.

Frame Rate: Gabriel Madan

Films will be available for viewing through January 10, 2021.

Frame Rate: Gabriel Madan, Legacy Pipebomb, 2019 (runtime 1:01:18 min), and Puppet Show (4.19.2015), 2020. 

What do wrestling (Extreme Championship Wrestling, or ECW) and steroids, Nancy Grace, Willie Nelson, and Janis Joplin have in common? In his video Legacy Pipebomb, artist Gabriel Madan layers these seemingly disparate figures and subjects, with personal interludes including a text-to-speech reading of one of his sister’s blog entries detailing an accident with her daughter; a recording of his father singing Nelson’s “Angel Flying Too Close to the Ground,” at his daughter’s (Gabriel’s sister) memorial, with Madan singing over the recording; and a phone call between the artist and his mother in which he asks her to sing Joplin’s “Mercedes Benz.” The video also introduces the concept of Kayfabe—the performed fictional entertainment that is the hallmark of wrestling—and focuses on the 2005 ECW One Night Stand match between two hugely popular wrestling figures—Eddie Guerrero and Chris Benoit. The lives of both wrestlers ended tragically: Benoit killed his wife and young son, then took his own life and Guerrero died of a heart attack from complications due to extended drug use (steroids). As the match continues, artist D’Ette Nogle’s calming voice reads from a transcript of an episode of Headline News’s Nancy Grace Show, in which Grace attributes the tragic incidents to doctors who over prescribed steroids and painkillers to the wrestlers. Nogle’s soothing tenor is a stark contrast to Grace’s shrill accusations and hyperbole, adding another layer to this club sandwich of a narrative. This unlikely mix of the public spectacle of wrestling as entertainment with personal and public tragedies is unsettling, unnerving, and deeply compelling. Madan’s short and equally personal video, Puppet Show (4.19.2015), 2020, will lead off the program and there will be a Q&A with the artist immediately following the screenings.

About the Artist Gabriel Madan was born in 1993, in Miami and lives and works in Los Angeles. In August 2020, he graduated from Art Center School of Design and his graduate exhibition, Sana Sana, was presented at the PPR Gallery & D8 at Art Center. He received his BFA in Printmaking from The University of Miami.

Frame Rate: Gabriel Madan is organized by LAND’s Curator at Large, Ali Subotnick.

Frame Rate is LAND’s screening series, presenting film, video, and moving image works in site-specific contexts. Reflecting the diverse ways contemporary artists engage with visual culture, Frame Rate allows audiences intimate access to artists’ works and creative process. Unlike conventional formats, Frame Rate invites artists to propose and present new work, works-in-progress or ideas that comprise the multifaceted influences informing their creative practice.

This screening is made possible by a grant from the City of Los Angeles Department of Cultural Affairs.



On December 11, 2020, LAND screened two recent films from Gabriel Madan, Legacy Pipebomb, 2019 (1:01:18 min), along with one of the artist’s shorts, Puppet Show (4.19.2015), 2020, followed by a conversation between the artist and LAND’s Curator at Large, Ali Subotnick. An edited version of the conversation follows.

Ali Subotnick: So, Shahryar Nashat sent me your portfolio that had a link to Puppet Movie, and I watched it and I was like, “I gotta talk to this guy.” Then we had a great studio visit and you showed me an excerpt of Legacy Pipebomb (2019), and later I watched the whole thing, and I was really moved by how you connected these personal and public tragedies and tried to make sense of senseless tragedies. I mentioned to you after I watched it for the first time, that I thought of it like a club sandwich with all these different layers, so I tried to pick apart all the layers and I’d love for you to tell me more about your ideas for the layering. So maybe the meat of the sandwich is public and personal tragedy and making sense of a senseless tragedy. Then for the condiments like the lettuce, tomato, mustard, mayo and all that stuff there’s the Vince McMahon cold open of the wrestling match; the explanation of the term kayfabe; your explanation about a shoot being the opposite of a work; the Nancy Grace transcript, which is read by the artist D’Ette Nogle; the ECW One Night Stand match between Eddie Guerrero and Chris Benoit; you reciting the chorus of Bob Dylan’s song “Who Killed Davey Moore;” the text-to-speech reading of your sister’s journal entry about her daughter’s bike accident; the audio tribute to Eddie Guerrero; your father singing “Angel Flying Too Close to the Ground,” and then you singing over that; the phone call with your mom and both you and your mom separately singing Janis Joplin’s “Mercedes Benz;” and finally at the end you claiming the identity of all the different characters. So, club sandwich …

Gabriel Madan: I’ve loved it from the beginning because it seems to fit really well. It’s a sandwich that I’ve never liked to eat …

AS: Me neither! And, sorry to interrupt, but when you do get one, like at a country club, they put a toothpick through it, to hold it all together. So maybe the tragedies are the toothpick …

GM: It’s something like that. It holds it together, but you have to take it out and pull it all apart to divide it into these layers. I watched it the other day and was thinking about the different sounds being like this indicator of real vs. fake or public vs. private experiences. Like the wind breaking up my dad’s singing at my sister’s memorial or when D’Ette’s doing her voice over there’s no background, it’s all very clean and sort of removed [from the original context]. That strangeness of audio being disrupted or the fake performance of a wrestling match with the noise of a real crowd while everything else is removed and it’s like an echo chamber. There are definitely a lot of different layers and [maybe] the meat is the public and private tragedies. Eddie Guerrero’s death was one of the first deaths that I experienced as a kid, so for me it was almost like a private tragedy, but at the same time I didn’t know him personally.

AS: Were you a big wrestling fan?

GM: Yeah, for like three or four years nonstop I had been asking my parents to take me to a match. That ECW match in the film was the first one that I went to. It was wild. It was our first wrestling match, and we didn’t have any gear or any of the merchandise, so I think my dad was in like a Lacoste shirt and I’m in a T-shirt or something and all these people are screaming or throwing beer and it was sort of an out of body experience. At some point a wrestler jumped into the crowd like three rows in front of us. It was wild but yeah, we were there.

AS: How old were you then?

GM: I think I was 12-years old. It was very strange watching a wrestling match in person. It’s the most extreme, bloody, and violent sort of true American wrestling that you could get.

AS: Yes, it’s a very specific form of entertainment. That was one of my questions–why did you choose that specific match? But you answered that.

GM: I was thinking more specifically about those two wrestlers, Eddie Guerrero and Chris Benoit, and their family tragedies and how those came to be, and the difference between the two. One committing a heinous double murder suicide and the other one dying from a heart attack from a drug overdose, and both having tribute shows and how does a tribute show for a public figure look different than a memorial for a sister or daughter? How do they differ, but also that strangeness of paralleling my sister’s death with these two other deaths that are very different?

AS: How much time had passed after Guerrero and Benoit’s deaths and your sister’s death?

GM: My sister died in 2015, so it was ten years after Eddie Guerrero died.

AS: How important is it for viewers to know the details of those personal circumstances?

GM: That’s something that I go back and forth on, like how much to reveal. I think that was one of the questions that I tried to tackle with that last line in Puppet Show (4.19.2015) (2020), “This is where my sister died.” And I don’t really acknowledge that in Legacy Pipebomb. The only time it’s mentioned that it’s for my sister is when my dad’s introducing the song that he sings at her wake …

AS: So, you kind of need to know about your sister…

GM: Right or that’s the pipe bomb, right? That’s my real life interrupting this kayfabe work of a video. Like what part of the video is a real presentation? And asking D’Ette to read Nancy Grace’s transcriptions, which are these hyperbolic, exaggerated takes on the news and D’Ette contributes such an empathetic and honest reading of that same text and it changes the tone. I think that was really important for this. More so than telling viewers that my sister died. It’s more about changing the tone of death. I was trying to understand it a little bit better. It had been almost five years and it was around her birthday last year when I started making this video. So, I was thinking about her and these other things at the same time and wanted to do a video that was different from anything that I had done before. I told myself, this is found footage, I’m not going to edit it at all. I’m going to pause it at certain places and let it rest.

AS: Yeah, with those moments at, when there’s just text on a black screen and you are speaking … again, you’re playing with different tones. And then when you give us an arresting image of the wrestler’s frozen, mid-action, and the audio doesn’t match up with it at all, it heightens the tension. It operates on these levels that evoke different reactions and takes the viewer on a bit of a rollercoaster, going through the different layers of the sandwich. [laughs]

GM: Totally [laughs].

AS: Can we talk a little bit more about kayfabe? It’s a term I wasn’t familiar with. Is it specific to wrestling and where did it come from?

GM: I think so. I don’t really know the terminology all that well either, except that it’s the scripted portrayal of a character. So, like I just saw the Undertaker recently retired.

He’s a sort of Trumpian dead guy undertaker. They’re all out of their mind weird. Like why would you think to make a dead guy as a wrestling persona? And he comes back from the dead and he gets buried again. It’s very weird to keep up that portrayal. But this need to keep that persona up in real life seems to have fallen away now. It’s impossible to keep it up. This guy’s doing interviews and wearing Trump hats and he’s not the character anymore, it’s the real person coming through.

AS: I was wondering if you thought that the characters that Benoit and Guerrero were playing had some sort of role in their tragedies, aside from the steroids and painkillers?

GM: I think so, yeah because you know they had to take these steroids to maintain this sort of lifestyle and fight through injury and recover and all these things. They did an autopsy on Benoit after his death and he had such severe CTE and his scans looked like those of a 90-year-old with severe dementia. So, to a degree, the things that they needed to do to maintain these personas for television and for the fans and all that stuff play a role in their deaths because they had to take these drugs to compete and there are studies on CTE and its effect on violence …

AS: But do you think that they got so caught up in the aggressive and violent personas that they stayed in character when they went home or took on the violent nature of their characters?

GM:  Yeah, it’s hard to say how much crossover there is. I mean it’s strange when you think about Chris Benoit’s nickname, which was “The Crippler.” So yeah, probably to some extent they take some of that home with them. I can’t imagine that it wouldn’t stay with them to some degree.

AS: I guess it’s all speculation at this point since they’re not around to talk about it. OK that Vince McMahon cold open. Is that typical of one of those matches? I’ve never seen anything like that. I mean the whole set up and the terrible acting …

GM: Yeah, the terrible acting is the best. One of the wrestlers in the hallway completely breaks character and he ended up getting fired because he was smiling, and it broke from the tone that they were trying to portray

AS: Ha ha, because it felt so real?!

GM: Yeah no one’s following this guy and somehow there are cameras set up in the driveway and the car explodes and no one comes running to help or anything.

AS: And when McMahon grabs the door handle it’s so deliberate and staged.

GM: So, staged, you can almost see him thinking. Like you see him about to put his foot in, and then he realizes that he needs to wait a second, so he puts his foot back. It’s so easy to isolate and identify his thinking about his “acting,” especially when you frame it inside of this black screen, it kind of reveals all the nonsense.

AS: And it’s the perfect way to start Legacy Pipebomb by highlighting artifice and spectacle and the difference between what’s real and what’s fictional.

GM: Yeah, I think that almost … going back to the sandwich, the meat is spectacle. It can be a true spectacle or a fabricated spectacle and I think that that thread runs through the entire piece.

AS: Yeah, and it demonstrates the variations of spectacle and how to present it. OK so we talked about the kayfabe …

GM: Yeah, even pipe bomb from the title, it’s supposed to be when someone actually … So a shoot is something that’s supposed to be portrayed as real and, kayfabe is something that is supposed to be known as fake and a pipe bomb is supposed to be something completely spontaneous, it’s real, but it’s scripted as well, like everything in wrestling from start to finish. There’s even the terminology that says this is real, but actually it’s a scripted word for reality. Pipebomb. The pipe bomb is the rumored “only really real” shoot given by C.M. Punk where he trash talks WWE and McMahon. It turns out this genuine real shoot was actually scripted and a planned work.

AS: Going back to the layers, when you talk about how the shoot is the opposite of a work, were you trying to make a connection between how art is fiction, yet an art object is also referred to as a work?

GM: Yeah, and very heavy-handed, I keep repeating, “It’s a work, the opposite of a shoot is a work.” So heavy-handed…

AS: Is language something that you’ve always been interested in?

GM: To a degree yeah. I love word play and portmanteaus and palindromes, but the script from all the audio recordings [the wrestling match, Nancy Grace, my sister’s journal, etc.] dictated where things went in this piece.

GM: Yeah, the editing is super tight, and so key to connecting all the threads, just the way things unfold, and you go back and forth from one thing to another. What about repetition? There’s a lot of repetition of different phrases and people saying the same thing in different ways, but also you included some bloopers. Like when D’Ette recites her lines over and over again, it reinforces the ideas.

GM: Yeah, when D’Ette sent me the audio files my favorite thing was the … I can’t call them fuck ups because they’re so good. She’ll slip up a line and or something and then she’d whisper like shit or fuck, totally contradicting the seriousness and the tone of what she was saying.

AS: And that takes us back to kayfabe and breaking the fourth wall.

GM: Exactly. I mean I had never used a voiceover and I was responding to D’Ette. I was almost trying to mimic the way that she edited herself, so there was no sound, there was nothing else happening. But other things interrupted mine. At the beginning when I’m singing the Bob Dylan song someone came in while I was recording and I was just like, fine I’ll leave it in, it doesn’t matter, like this is the reality of me trying to sing a song that I don’t know as I’m looking at the lyrics in a karaoke video with this cheesy background and the lyrics are bouncing around while I’m recording. So, there’s a lot of repetition, a lot of mirroring. In a sense I’m trying to parrot D’Ette’s voice who’s also trying to overlay hers onto Nancy Grace and there’s a very strange sort of lineage in there. And another thing about repetition, the match restarts [in my video] and that sort of took its cue from the announcer saying like you can either tap or have your neck broken, and I chose to just start the match over so that had to play through, I think. Like you’re given this option to do this or do that but, there’s always this third option to start over and see what happens.

AS: And what led you to use the text-to-speech program for your sister’s journal entries?

GM: It’s something that I used as a stand-in for my sister’s voice previously, and these are the only remaining texts of hers that I have access to. The entry that I put through the text-to-speech program recounts an incident when my sister and her daughter, my niece Zoe, were at a farm where kids come and take care of horses and do shooting or zip lining. And for one blog entry, my sister wrote about this event where Zoe is riding her bike as fast as she can back but at the same time holding an ice cream cone, the ice cream cone slips and falls and then Zoe tumbles over, and crashes and my sister writes about witnessing this scary experience for both of them. I think my interest in language comes from my sister. She was such a great writer, and she had a very interesting way of putting words together that I never could, at least when I tried writing about her, but through audio and video it was easier.

AS: One of my other questions, which I think we kind of covered, but I was curious if you feel that it is important for viewers to know who all the different characters are? Is it important to you that viewers are familiar with the wrestlers or know or understand that we’re hearing your parents?

GM: I think what’s important is that there’s evidence of a closeness or some sort of connection with a person they might not know is my sister or my mom or my dad.

AS: Here’s a viewer question: “The longer work [Legacy Pipebomb] feels both linear and nonlinear, grappling with the fragmentation of memories. What was the tone toward death before creating this work, and what is the change of tone you have experienced during and after as well as a sensationalized versus an intimate tribute? Can you talk about your decision on the endings of each of these videos?”

GM: The decision on endings is probably something a little easier for me to get to. At the end of Legacy Pipebomb I say, “I am Nancy Grace I’m D’Ette Nogle,” and so on. I sort of claim these characters for myself, and I have been thinking about this video as some sort of a persona building and these influences on me as an artist and as a person and wanting to associate myself with either the things that those people spoke in the video or how they’ve affected my life in some way or another. And that repeats too. I read it all the way through and then I read it all the way through again, with no credits.

AS: It’s a powerful ending. It reminds us how easily our circumstances could change, and we could have been any one of those people. One thing that happens in your life can change the trajectory or influences in your life…

GM: Totally. That’s always something that’s amazed me, like I could be this person, or I could be that person. Like, how does this play out? And it’s obviously the people that are in your life and the people that you look up to or don’t look up to and their influences on you and in a way I’m all those people at the end of that video. Puppet Show ends very, I would say awkwardly. I drop a very heavy last line and then just leave the room. And I say I, but it’s the puppet obviously.

I do want to see if I can answer the first part of that question about the tone towards death. Experiencing death, especially in 2020, and seeing numbers rise every day, I don’t know how to even calculate that or register that. I think the only sort of clear tone that I had was more about post-death. People would tell me, “Oh you know she’s in a better place,” which is such a load of shit. The better place is being alive and being able to be with loved ones and make work and write and have all these experiences. I think people can be dismissive of death and that’s such a shitty way to say it, but people have such an awkward relationship to death, and they don’t know how to process it and they don’t know how to help other people process death. Saying she’s in a better place or something like that doesn’t do any good.

AS: And we get desensitized.

GM: Exactly yeah. Like saying [of Covid-19 fatalities] it’s a 9-11 every day. There’s no good way to do it and I think maybe that’s the tone towards death. There’s no good way to die. There’s no good way to lose somebody.

AS: I also think the difference between experiencing the tragic death of a public figure that you don’t have a personal relationship with is so different than losing a family member. That’s gotta be the hardest thing to go through.

GM: Yeah, and it’s been the hardest thing for my family too. 2020 was the five-year anniversary of my sister’s death and it hasn’t gotten any easier for any of us. It’s always there. It’s funny that Eddie’s public death still affects me. Still when I hear the song that they played as a tribute song suddenly I’m crying over a 12-year-old me experiencing death. Even a public death can be intimate, in the same way that [John] Baldessari’s death was intimate for me. I think that sort of lingering loss or loss visualized… Like … Puppet Movie has had an impact on many other people, not because they knew my sister, but for knowing that feeling of losing somebody. Like if D’Ette is a stand-in for Nancy Grace, someone else’s intimate death is a stand-in for your personal experience with death as well.

AS: I think it’s generous of you to share that and make yourself vulnerable. Here’s another question: “I’m curious about your editing process. It seems like the audio is almost like a set script, material that you knew you wanted to use and then the image is more consistent, repetitive and gets used in a slightly different way with frozen moments and periods of stillness and is purely wrestling in imagery. Could you talk about your decisions with regards to that video image? When was it important to let the action play out and when was it important to see a still image important for an extended time?”

GM: Now, looking back, it feels that there was a set script of like, here are the things that I need D’Ette to read so that I can interject with a song or something like that. Where it’s like the story takes place over something that’s happening in the video. Yeah, there are a few moments in the video that get paused. I think there’s one where [the wrestlers] are falling off the top of the ring, they’re flying in the air, and there’s this beauty in the pause and distortion in the video, which is a screen recording off my computer. And that comes out of my interest in video art and thinking about when a glitch or a pause happens, how does that either influence the audio or the audio influences the image? And the last freeze is when Eddie is about to tap out and D’Ette’s reading part of the script and the audio of my sister’s blog and then I sing and then the action comes back. That felt like, this is the ending, this is the climax obviously, and we’re going to sit on one image and let the audio be the guiding narrative here, like give space for the audio to do all that it can do. Earlier in the video, maybe it was OK to distract a little bit from the audio. There’s a lot of …

AS: There’s a lot to unpack and so it’s sort of a way of mediating in a way or giving people a chance to listen and to focus on the words.

GM: Yeah, it’s gotta work differently in those parts.

AS: What about the decision to keep the application window frame in, so that we know that you’re watching this on a computer?

GM: I don’t really know. It was a very easy decision. I loved how the computer was watching the wrestling unfold and I was just screen recording instead of giving you this footage straight up. There’s this separation from it being real action. I think more than anything I wanted that distance from the action to be really visible. Like you can see the play bar and the play bar doesn’t match up with the play bar that you’re viewing in the video.

AS: [laughing] yeah, I kept getting confused about the timing.

GM: Yeah, it’s like how are we still here? Like this has gone on for an hour and it’s moved like two minutes. It didn’t make sense. There was something about that time indicator that was a visualization of time that’s obviously passing in this DVD, that’s not passing in the time that you’re experiencing watching the video. There’s a disconnect in that time, and I think there are huge disconnects in time in the narrative of the piece.

AS: Yeah definitely, slowing down, speeding up … OK one more question: “Are the wrestlers Willie Nelson’s angels flying too close to the ground? They come crashing to the ground in real life, but with the pause editing you’re able to stop that even momentarily like a stay on death for a minute?”

GM: Yeah, I think that’s beautiful. It’s not what I was thinking, but it’s probably the only thing I’ll be able to think of now.




Frame Rate: Joanne Petit-Frere

LAND presents Frame Rate: Joanne Petit-Frere featuring a newly commissioned multimedia work, Jo Goes West.


Matthew Schum, Independent Curator
Interview with artist Joanne Petit-Frère

MS: Joanne Petit-Frère, like me, you also have a rather unique surname. Can you tell us more about your family’s origins?

JPF: My family is of Haitian descent and I am the first-born generation raised in Flatbush/Lefferts Garden and Long Island here in Brooklyn, New York.

MS: I ask about your actual name because you’ve taken a playful approach to naming this project including pseudonyms. Can you tell us more about each iteration you’ve gone through?

JPF: Each iteration I’ve gone through has been an encapsulation of that time in my life. BraidCora Quarantina came about during our global pandemic that arose in developing this project. JoGoesWest came about in 2016 when I decided to travel by myself for the first time and took a pilgrimage with my braid sculptures to the West. The first and last image were particularly from this trip and I’ve named the series “Word from out West,” when I collaborated with my friend in Portland, Alex Riedlinger. The pseudonym I worked with prior was called Tresse Agoche, which translates to Braid Left. This was the first time I experimented with one and began to theorize as to why I work with the braid or, at least, what I saw poetically.

MS: Text itself has been given a unique treatment here. It feels as though you’re weaving with words as well. Is that accurate? How does the textual and the sculptural make contact and interpose in the video work?

JPF: Definitely. I’m glad that registers as such, as a form of “text weaving.” I was very fluid in how to punctuate the imagery and share my ruminating thoughts. I wanted to share as if one was reading through my notes like a short story or collection of poems.

MS: Does this relate at all to the ways you seem to intertwine your abiding identity with adopted ones, including fictive names, aspirational places, historic locations, and iconic theorists like Frantz Fanon.

JPF: Absolutely Matthew, thank you.

MS: The images that drew me to your practice are elaborate braided sculptures. Can you tell us more about how you developed this sculptural technique? Did you have a teacher?

JPF: This practice developed from my mother’s training in braiding hair for the family. The sculptural technique came later as a teen when I studied at the Fashion Institute of Technology. Experimenting with fashion and studying drapery while being around my Cooper Union friends helped nurture this practice. I didn’t have just one teacher to develop this skill; it was a combination.

MS: You’ve brought these skills to the fashion and pop-music worlds in the past. Can you tell us more about those projects and what prompted the current foray into contemporary art?

JPF: Yes, I’ve been blessed to offer my skills in these arenas. I can share more about these projects in-depth in printed booklets I’ve been cooking to deliver. It’s been a long-time coming. What I can say is that after working with Solange, I started to receive invites to MoMA, NoMA, and the New Museum, but have always had more interest in art spaces than strictly fashion, which is mostly my background.

MS: For this commission, you were working in video. We originally planned a live performance to be presented by LAND at the California African American Museum to activate the sculptures. Tell us how you envision the crossover of the sculpture into other media including video and performance?

JPF: I’ve always been interested in viewing my process through video. I say this during the age of social media, where it’s become casual to share one’s once-private studio practice. So, instead, I used video to strip down and simply share that side with my audience, but still on my own terms. I find it, personally, pretty difficult to transfer out of the meditative state of braiding and sculpting, where there’s no digital technology involved, to then disrupt the flow with it—which most artists can relate too of course. I understand that while it is important to share my work and be of the times technology-wise (LOL), it’s also important for me to reserve some of the magic. For me that means to honor lo-fi means, frankly, as it too is my reality. I only this year have been working with a Mac computer. Zoom, however, I just can’t rock with. Though I envision continuing to share this process in film form, which I think is a healthy balance of reserving yet sharing, I still have more to complete on this collection so you’ll see (laughs). Thank you for being fluid with me during this process and that’s an understatement.

MS: The reason video has become so prominent here has to do, in part, with COVID. Many of the early shots you shared were process shots from the studio. What has quarantine been like from the angle of making and maintaining a studio practice?

JPF: It’s interesting because quarantine hasn’t really changed my practice in the sense of the lifestyle of being locked down in the studio. I think, like most artists, we’re already used to the concept of being locked in and making the best of the materials in front of you. What has changed, though, is working from home mostly instead of the studio. So now I am in the process of moving out of my studio and making a home one due to COVID.

MS: You are based in Brooklyn. How has your community been affected by COVID?

JPF: Earlier in March and April there weren’t many people outdoors—with masks, at that. Slowly but surely that all changed. Everyone was wearing masks suddenly. There was also some time where I spent two weeks at home straight, which was maddening. Luckily, I have roof access for fresh air, but, still, lockdown has also been rough. The markets are getting slim with produce and recently I saw a pantry line in my neighborhood. It’s changing day-to-day especially with all of the protests.

MS: Who have you collaborated with during this project? Music seems to be a strong component.

JPF: My partner Andrew Wayne C. and I have always been interested in learning how we could come together to produce music to couple our work together in video and we finally made it happen. We’re working on a name still but I’m hoping he’ll let me lead with BraidCora. He’s definitely the brains behind the music whereas I’m very new and he’s teaching me. There’s another sound artist by the name A2Z, who I’ll be working with too in the near future. Really excited about this part of the process as the activation of my sculptures works best moving in sound. Speaking of which, Nick Cave is also a huge inspiration.

MS: As an emerging artist gaining new attention for the work you do, how do you envision this project will change your practice, especially after stay-at-home and COVID are finally behind us all?

JPF: I’d imagine more architectural installations would speak more loudly to me, as I’ve dreamed of doing this for years now but never had the downtime of a year to do so, which is how long it’d take me to hone this vision. I have an even greater appreciation for my material as it sourced overseas in China (like most of our products). So there runs the possibility of my having to evolve with the material I find comparable and available. Once COVID is finally behind us, I’d imagine I would appreciate live events that much more. Andrew would be happy to hear this since before COVID, he would perform all the time with his bands. Shout out to Deep Fake & Holy Wisdom!

MS: You’ve been doing a lot of peripheral research and reading for this project. Can you leave us with a quote not included in your video that can serve as inspiration or a final word related to this new work you’ve produced over that last six months?

JPF: “And that is my reason for living. The future must be a construction by the [man or woman] in the present. This future edifice is linked to the present insofar as I consider the present to be overtaken” (bell hooks, Rock My Soul).

“A dark & sci-fi historian named Jo,
‘Goes West’ to write a short film part press release, sans narrative.
She hopes to reimagine her quest in life, by
archiving an audio bio-lo-fi
moving picture & soundscape
inspired by Lorraine Hainsberry’s “To Be Young, Gifted and Black.”
Jo, a Performance Artist
& Nomadic Entrepreneur –
pioneers “On the Road”
w/ millennial challenges
of economics, displacement & identity,
a bit Kerouac-style.
All while en route to her dreamy destination of LA,
the LAND of second-chances.”

-Artist Statement

Joanne Petit-Frère (b. 1987,  New York) received her BA from the Fashion Institute of Technology. Her work was recently included in A Queen Within: Adorned Archetypes at the Museum of Pop Culture (Seattle, WA) and This Synthetic Moment (Replicant), curated by David Hartt at Philip Martin Gallery (Los Angeles, CA). Her work has been included in recent performances and exhibitions at MoMA PS1 (New York, NY); New Orleans Museum of Art (New Orleans, CA); and The Ethelbert Cooper Gallery of African and African American Art, Harvard University (Cambridge, MA). Petit-Frère has created custom hair sculptures for Beyonce, Solange Knowles, Les Nubians, and Janelle Monae, among others. Her work has been featured in publications such as Vogue, Vogue Italia, Vogue Japan, The New Yorker, The Evening Standard, AnOther Magazine, and Cultured Magazine. Petit-Frère lives and works in New York, NY.

Brooklyn-based artist Joanne Petit-Frère’s BRAID.CORA QUARANTINA 2020 (POST.JUNETEENTH) is a short docu-film performance that chronicles the artist’s studio practice during quarantine and the creation of her hair-braided sculptures. The work is commissioned by LAND (Los Angeles Nomadic Division) and co-presented with the California African American Museum. This co-presentation is curated by Matthew Schum and made possible in part by a grant from the Los Angeles City Department of Cultural Affairs.


Frame Rate: malni – towards the ocean, towards the shore


 Join Los Angeles Nomadic Division (LAND), FILM at LACMA and The Autry Museum of the American West for a co-presented virtual screening of Sky Hopinka’s małni – towards the ocean, towards the shore. The film will be followed by a post-screening conversation with the director.

The first full-length feature film by director Sky Hopinka (Ho-Chunk / Pechanga) is a poetic exploration in his signature style, seen here in the first L.A. screening following the world premiere at the 2020 Sundance Film Festival. A narrator follows Sweetwater Sahme and Jordan Mercier’s perambulations through their worlds—sometimes overlapping, sometimes not—as they wonder and wander through the afterlife, rebirth, and the place in-between. Spoken mostly in chinuk wawa, a language indigenous to the Columbia river Basin, their stories are departures from the Chinookan origin of death myth, with its distant beginning and circular shape.

małni – towards the ocean, towards the shore

2020, 82 minutes | Directed by Sky Hopinka with Sweetwater Sahme and Jordan Mercier

About the Artist Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, and is currently based out of Vancouver B.C. and Milwaukee, WI. He began making films in Portland in 2011 when he also began studying and teaching chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video, photo, and text work centers around personal positions of Indigenous homeland and landscape, designs of language as containers of culture expressed through personal, documentary, and non-fiction forms of media.

Frame Rate: malni – towards the ocean, towards the shore is curated for LAND by Matthew Schum.

Frame Rate is LAND’s screening series, presenting film, video, and moving image works in site-specific contexts. Reflecting the diverse ways contemporary artists engage with visual culture, Frame Rate allows audiences intimate access to artists’ works and creative process. Unlike conventional formats, Frame Rate invites artists to propose and present new work, works-in-progress or ideas that comprise the multifaceted influences informing their creative practice.

This co-presentation is made possible by a grant from the City of Los Angeles Department of Cultural Affairs.

Frame Rate: Apariciones / Apparitions

Saturday, June 22 2019
12 – 5PM

Exhibited at the Blue Roof Studios Arts Festival, LAND presented Apparitions by Carolina Caycedo (a video produced for her recent show at the Huntington Library) as part of the Frame Rate series. Developed through a joint collaboration between the Vincent Price Art Museum and the Huntington Library, Art Collections, and Botanical Gardens, Caycedo’s Apariciones / Apparitions reconceptualizes spaces within the Huntington through African and indigenous spiritual and dance practices from the Americas. In this work, dancers embody past entities returning to the earthly realm. Caycedo worked with choreographer Marina Magalhães to develop gestures inspired by the Candomblé religion and the goddess Oxúm, a deity of water, pleasure, fertility, and sexuality.

Black, brown, and queer dancers appear in various Huntington locations—dressed in Oxúm’s signature color of deep gold—and perform rituals of labor such as tilling land, washing gold in a river, or shaking the entire body, as when a deity or orixá mounts a mortal. The figures inhabit historically white spaces in evocative, unconventional ways, marking the museum’s collections as sites for ritual, enjoyment, and divination. Informed by the Aymara aphorism “Qhip nayr uñtasis sarnaqapxañani,” which roughly translates to “looking back to walk forth,” Caycedo’s work introduces a present in which the past refuses to be static.

ABOUT CAROLINA CAYCEDO: Born in London to Colombian parents, Carolina Caycedo has lived and worked in Los Angeles since 2012. She has developed publicly engaged projects in major cities across the globe, from Bogotá to London, New York to Paris, and San Juan to Tijuana. Her work has been exhibited at several international biennials and has been the subject of solo shows in galleries from Los Angeles to Berlin. Her artist book Serpent River Book was part of the A Universal History of Infamy exhibition at LACMA, and she recently participated in the Hammer Museum’s Made in LA 2018 exhibition.

The Frame Rate series is an on-going program with an eye towards film, video, and the moving image in general.

This Frame Rate is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.

Support for Frame Rate is Provided by:


Frame Rate: Southern Sound

June 20, 2019
6 – 9PM

Exhibited at the Blue Roof Studios Arts Festival, LAND presented Southern Sound by Cole James as part of the Frame Rate series. Southern Sound is an installation with archived and collected sounds from five generations of matriarchs. Within this piece the artist discusses the parameters of gender with their mother, great grandmother, and niece. The sound was collected in Atlanta and South Carolina over the course of five years.

Cole James is an interdisciplinary artist based in Los Angeles navigating the African Diaspora, circling the expanse of queerness and traversing through womanhood. Her work is composed of the intersections between digital production and analog collections of lived experiences. Digital media allows the privilege of expanding or collapsing the intersections of race and gender though the lens of language and aesthetics. Exhibitions include Skin Show, Barnsdall, Los Angeles; the two-person exhibition, Wayward, curated by critic, David Pagel; and shows at Crashing, Culver City, DA Center for the Arts, Pomona, and Sam & Alfreda Maloof Foundation Gallery, Claremont Graduate University. Recipient, Alfred B. Friedman Grant, Walker Parker Artist Grant, Mignon Schweitzer Award and Innovations In Painting Award.

The Frame Rate series is an on-going program with an eye towards film, video, and the moving image in general.

This Frame Rate is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.

Support for Frame Rate is Provided by:


Frame Rate: Looping Swan

The Cabin
Located by Highland Ave & Melrose Ave.
Thursday, June 28, 2018
7 – 9 PM

Please join LAND (Los Angeles Nomadic Division) for Frame Rate: Regina Mamou as the artist presents Looping Swans, a multi-channel video installation and responsive performance by Maya Gurantz, exploring the political aspects of invisible and visible labor.

Frame Rate is an on-going programming series with an eye toward film, video, and the moving image in general. The exhibition is free and open to the public.

Regina Mamou’s Looping Swans explores the political aspects of invisible and visible labor. On August 18, 1991, a faction of Communist party hardliners attempted a coup against the President of the USSR, Mikhail Gorbachev. As tanks rolled onto Moscow, state-sponsored television played Swan Lake in lieu of news programming. Mamou’s multi-channel video highlights the “Danse des Petits Cygnes” (Dance of the Little Swans) from Tchaikovsky’s storied ballet, in this iteration performed by the Soviet Union’s Bolshoi Ballet company.

Composed of four dancers, the choreography of the swans incorporates difficult movement complicated by the requirement that the dancers remain in sync at all times with cross-linked hands. In the “Dance of the Little Swans,” the dancers must let go of individuality to seek unity, while masking the aspects of labor, pain, and suffering required of dancers trained at this level.

Developed in response to Regina’s video installation, Maya Gurantz’s performance is set against the video. Including other invited performers, the piece creates and enacts a durational performance score that does not hide the toil of physicality. Inspired by descriptions of the “disappeared” labor in Stalin’s gulags and Stalin’s concomitant love of public displays of synchronized action (parades, complex human pyramids, ballet), Gurantz focuses on the tensions of the body at work.

The last efforts of the Soviet Union included a bumbling plan to prevent Gorbachev from signing a treaty to give greater independence to the Soviet states—one more change among many during the Glasnost period welcomed by Soviet citizens as a warming to the West. As Gorbachev was placed on house arrest at his summer retreat, Swan Lake looped on television, again an attempted distraction as the coup leaders sought to speak for the wishes of the citizens. Ironically, ballet came to Russia through Peter the Great’s pursuit to modernize and “westernize” Russia in the early 18th century. The czars that followed Peter were committed patrons and celebrated the strength of the dancers and the labor enacted by their bodies.

Citizens gathered to protest the coup outside of the Parliament buildings. They had no interest in going “back to how things were,” to a time when their own labor was made invisible. The coup was over in three days and the USSR was dissolved less than five months later.

Looping Swans presents a juxtaposition of invisible and visible labor drawing from ideologies of Soviet communism. These belief systems, however, are not so different from our current milieu, where media tactics, wielded like strategic weapons, are used for political gains.

The artist would like to thank Barnett Cohen, Maura Brewer, Julie Henson, Danny First, Irina Gusin, and Nancy Meyer and the rest of the LAND Team for their support.


ABOUT REGINA MAMOU:  Regina Mamou (b. 1983, Southfield, Michigan) is a Los Angeles based artist. She holds an MFA from the School of the Art Institute of Chicago, a BFA from the Rhode Island School of Design, and was a Fulbright fellow to Jordan. Mamou’s work has been the subject of group and solo exhibitions, including The Alice Gallery, Seattle, Washington; Bert Green Fine Art, Chicago, Illinois; Adjunct Positions, Los Angeles, California; Charlie James Gallery, Los Angeles, California (as part of Pacific Standard Time:LA/LA); and Makan Art Space, Amman, Jordan. She has two forthcoming artist residencies, Haven for Artists, Beirut, Lebanon; and Queens Collective, Marrakech, Morocco, from fall 2018 to winter 2019 respectively.

Mamou has a research-based practice that focuses on the desire to understand the diversity of ideological systems. Her work is an amalgamation of fact and fiction, placing historical information together with falsehood to explore the power of belief systems, especially as it relates to communism and totalitarianism. This interest stems from her familial background where she grew up with the awareness of the implications of political ideology intertwined with religion. Mamou’s mother, who is Polish-American, and Mamou’s father, who is a Christian-Chaldean from Iraq, raised her multiculturally. As a former priest, Mamou’s father left the clergy, and Iraq, for fear of persecution. For this reason, she is interested in not only the examination of social utopias but also the struggle to create community through a dystopian future.


ABOUT MAYA GURANTZ: Maya Gurantz (b. 1977, Oakland, CA; based in Los Angeles). In video, performance, installation, social practice and writing, Maya interrogates social imaginaries of American culture and how constructions of gender, race, class and progress operate in our shared myths, public rituals and private desires. Cycling between intuitive and academic research, the intimately personal and political, Maya adapts, re-enacts, fictionalizes, and re-choreographs history to force viewers to encounter, viscerally, how their most intimately held beliefs belong to a complex lineage of social construction.

Most recently, Maya’s work has been shown at the Grand Central Art Center (solo), Museum of Contemporary Art Denver (solo), Greenleaf Gallery (solo), Utah MoCA, the Oakland Museum of California, Pieter PASD (solo), High Desert Test Sites, Navel LA, Angels Gate Cultural Center, Beaconsfield Gallery Vauxhall (curated Jane Mulfinger), Autonomie Gallery, and Movement Research at Judson Church, among others. Recent social practice commissions include A Hole in Space (Oakland Redux) for The Great Wall of Oakland (with Ellen Sebastian Chang), The Field Experiment ATL, and Gunworlds (with Liz Goodman, Media Design Practices Summer Research Residency, ArtCenter College of Design). Maya’s writing has been published in The Los Angeles Review of Books, This American Life, Notes on Looking, The Frame at KPCC, ACID-FREE, The Awl, InDance Magazine, Theater Magazine, and an anthology, CRuDE, published by the École Nationale Supérieure d’Art, Bourges. She co-translated two novels by Israeli writer David Grossman, Be My Knife and Someone to Run With, for Farrar Straus & Giroux. Maya holds a BA from Yale and an MFA in Art from UC Irvine.  


This Frame Rate is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.

Special Thank You to Danny First and The Cabin

Support for Frame Rate is Provided by:


Frame Rate

the man behind the curtain 
Hollywood Improv
8162 Melrose Ave, Los Angeles, CA 90046
Wednesday, April 25, 2018
5 – 7 pm


“Do you have any idea what it’s like to have two people look at you, with total lust and devotion, through the same pair of eyes?” — Being John Malkovich, 1999

“Oh – You’re a very bad man!”
“Oh, no my dear. I’m a very good man. I’m just a very bad Wizard.” – L. Frank Baum, The Wonderful World of the Wizard of Oz

Please join LAND (Los Angeles Nomadic Division) for 
Frame Rate: Norberto Rodriguez, the artist’s current work the man behind the curtain, a participatory performance. The audience (those present and those unable to attend) is additionally invited to tune in to the live-stream on the Instagram account @aschool.ofthought throughout the duration of the event’s hours.  It will be a night unlike others: a journey through a portal in a head, questions answered, predictions made, wishes granted. Rodriguez wants to share his whole self. The only requirement is you.

Frame Rate is an on-going programming series with an eye toward film, video, and the moving image in general. The exhibition is free and open to the public and late seating is available. Drinks and food will be available for purchase.

Norberto Rodriguez was born in Miami as a multi-disciplinary conceptual artist. He is the founder of The Museum of Meaning., A School of thought. + IP Division. Norberto is currently at work on several new projects including At your service. + The meaning of life. He also hosts the weekly podcast A penny for yours. along with the daily morning show, I’d rather be fishing. You can follow his continued journey on digital media as @norbertoinc.

For over half a century, the Improv Comedy Club has remained the premiere stage for live comedy in the United States. Over the decades, the talent who has played center stage represents the Who’s Who of American Comedy including, Billy Crystal, Freddie Prinze, Andy Kaufman, Eddie Murphy, Jerry Seinfeld, Tim Allen, Jay Leno, Chris Rock, Ellen DeGeneres, Jamie Foxx, Adam Sandler, Jeff Dunham, Robin Williams, Louis CK, Sarah Silverman and Dave Chappelle. Located in Hollywood California, the world-famous Hollywood Improv opened in 1974 offering a unique one of a kind entertainment option that will leave you and your guests laughing into next week.


This Frame Rate is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.

Special support by Hollywood Improv.

Support for Frame Rate is Provided by:


Frame Rate: 3 Artists, 3 Evenings

June 27 – Olga Koumoundouros
June 28 – Jeff Beall
June 29 – Alexandra Grant
7 pm

Blue Roof Studios
7329 S. Broadway
Los Angeles, CA 90003

Three evenings of artist talks—each night, an invited artist presented a selected video for thoughts and conversation.

TUESDAY, JUNE 27: OLGA KOUMOUNDOUROS’s work examines the flow of energy and resources within the dynamics of labor that provides sustenance to society and people’s lives. With LAND she screened and discussed a short video titled Chamber of Commerce Sector Focus created while in residency in 2015 at Burlington City Arts in Vermont. There she chose to address her understanding of the shifting priorities in the local economy and its relationship to the real estate market.

ABOUT OLGA KOUMOUNDOUROS: Olga Koumoundouros has exhibited at venues nationally and internationally including Commonweath and Council, Armand Hammer Museum, REDCAT, Krannert Art Museum, Champaign, IL, Palm Springs Art Museum, The Studio Museum in Harlem, NY, Bass Museum in Miami Beach, Project Row Houses, Houston, TX, and The Tang Museum, Saratoga Springs, NY among others.


WEDNESDAY, JUNE 28: JEFF BEALL discussed his recent exhibition at Gallery 169 Unsolved: 1992 LA Uprising @ 25 Years. Beall’s exhibition honors the memories of the 23 unsolved homicide victims (out of 36 riot-related homicides) who lost their lives during the uprising, 25 years ago. Inspired by his own experience of having been caught up in the earliest moments of the uprising as violence broke out, Beall visited the locations of each of the 23 still unsolved homicides, and created rubbings using simple materials to make an impression of each place. The exhibition was comprised of the rubbings, photographs of the rubbings at each site, and an annotated map indicating the locations of each homicide. The exhibition at Gallery 169 ran for 8 days only, but the response was overwhelming. An effort is underway to find another venue in Los Angeles to exhibit the work again.

ABOUT JEFF BEALL: Jeff Beall is based in Santa Monica and has exhibited work in an irregularly regular fashion since 1987. This was his first solo exhibition since 2009. Beall is also a publisher of X-TRA Contemporary Art Quarterly and serves on the board of Project X Foundation for Art and Criticism.


THURSDAY, JUNE 29: ALEXANDRA GRANT came across a curious object in 2000 in a Wyoming junk shop: the tombstone of Lena Davis, a baby girl who died in 1880. Inexplicably drawn to the stone, she took it home, where it sat in her studio. Years later, she began a quest to discover the origins of the headstone, a mission that led her all the way to Polk, Nebraska, and an adventure in first-time filmmaking. Taking Lena Home documents the marker’s return to its rightful place, as well as Grant’s journey from owner of the stone to its caretaker.

ABOUT ALEXANDRA GRANT: Alexandra Grant is a Los Angeles-based artist who uses language, literature and exchanges with writers as the basis for her work in painting, drawing, and sculpture. Grant’s work has been exhibited at the Museum of Contemporary Art (MOCA) Los Angeles and the Los Angeles County Museum of Art (LACMA), among other museums and galleries. In 2015 Grant was a visiting artist at the Bemis Center for Contemporary Art in Omaha, NE, where she edited her first documentary Taking Lena Home about restituting a stolen home-steading era tombstone to a rural Nebraskan community. LAND is pleased to host the West Coast premiere of this documentary project.



The above images are film stills from Taking Lena Home by Alexandra Grant, 2016.

Support for FRAME RATE is Provided by:


Special thanks to Galia Linn and Matthew Hotaling at Blue Roof Studios for hosting Frame Rate: 3 Artists, 3 Nights.

Frame Rate: Edgar Arceneaux

Riverside Studios
3352 San Fernando Road
Los Angeles, CA 90065
February 28, 2015
7pm: Screening Performance Begins
8:30 – 10pm: DJ Dex (AKA Nomadico) of Underground Resistance

LAND presented a screening of Edgar Arceneaux’s feature-length film, A Time To Break Silence, which links two events of the 1960s – the assassination of Dr. Martin Luther King and Stanley Kubrick’s dystopian film 2001: A Space Odyssey – as a means to ruminate on their legacies and implications for the future of American cities. The film was scored live by Ray 7 of the Detroit techno innovators Underground Resistance, who produced the musical elements for the film. It was presented in the context of two related video works, which were simultaneously projected on the side walls of Riverside Studios, a former manufacturing space-turned-artist studios along industrial San Fernando Road. Following the screening, DJ Dex (AKA Nomadico) of Underground Resistance performed a set.

About A Time To Break Silence

A Time To Break Silence is titled after Dr. King’s last major speech, “Beyond Vietnam,” in which he decries U.S. involvement in the war as an “enemy of the poor.” King was killed exactly one year later in 1968, two days before Stanley Kubrick’s 2001: A Space Odyssey premiered in Washington, D.C.  In Arceneaux’s film, Dr. King reprises his speech in Detroit’s Saint Anne’s Church, which figures as a timeless ruin, while a prehistoric man named Stargazer aimlessly explores his alien environment.  Both 2001: A Space Odessey and Dr. King’s speech address technology in dual terms, as tool and weapon, a link amplified by Arceneaux’s collaboration with Underground Resistance. With these two intertextual references, Arceneaux’s film stages how the technologies we use are produced by the same evolutionary forces that produced us. In this film, Arceneaux uses a directing strategy he coined “Probality Mapping” which allows for improvisation to be mapped then overlayed with scripted performances.  

Riverside Studios is located behind FLOORGATE. Parking was available in the adjacent Pep Boys lot .


This program was made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.


Presented with support from BE. Beyond Entertainment

Special thanks to Omega Cinema PropsRiverside Studios Black Radical Imagination, Art Sheffield, and dublab.

Frame Rate: Kon Trubkovich

Russia Restaurant
1714 Ivar Avenue
Los Angeles, CA 90028

For this Frame Rate, Kon Trubkovich presented his work in progress, tentatively entitled, what did we destroy to get here. The video work depicts Trubkovich’s relatives in Russia singing their favorite popular American songs from their youth; however, since none of them speak English, all of the songs were learned solely on a phonetic basis. The work investigates the relationship between time and memory, and the complexities of mediated translation in our society.

This event took place at Russia Restaurant, where the work was accompanied by live performers, who sang select songs from the video. A Russian dinner and libations were served.

Kon Trubkovich is a New York-based artist whose paintings and video works use old VHS video as the foundational source. Trubkovich extrapolates from the digital static created by pausing and splicing the film to create nostalgic glimpses into the past. His work has been exhibited at the MoMA PS1, Long Island City; the Macro Future Museum, Rome; and Kunstmuseum Bern, Bern.

Frame Rate is a programming series with an eye toward film, video, and the moving image in general.

This Frame Rate is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs.