Frances Scholz
Amboy
November 15 - December 20

 

RELEASE:


Frances Scholz
AMBOY

An artist comes to LA from Cologne. The initial intention was to make a film about Lydia van Vogt, widow of the famous science fiction writer A.E. van Vogt. The intention for the film changes, but fiction remains a foundational context. The artist, following the complex of chance occurrences that is her reality, veers off and becomes entangled in another investigation: a movie about an artist: Amboy.

Amboy is a name shared by a lot of things and an expanding territory of ideas. Amboy is an artist. You haven’t heard of him before. He was born in 1965, thirty miles outside Sacramento. He first showed his art in 1992. Lacking a single unified aesthetic or even conceptual identity, he wears multiple, disparate stylistic ‘hats’ which he has called his “centers of information processing.” If this is an artistic strategy, I call it free-market pastiche. There is a terrible, frenetic, multi-tasking, anxious energy coursing through the manic, scattershot, careless range of Amboy’s art practice, making him a symptomatic, if not anticipatory, figure exposing the deep psychological undercurrents of this bleak neoliberal, venture capital moment in history. As an actual and allegorical figure, he is scared of silence: music frantically fills the sedatephobic breech. He makes one wonder how cynicism can be redeployed for a critical function. Fiction is the sign under which his art is born. Amboy is freshly formed and new on the radar; his history is extra-digital and stubbornly unverifiable.

Amboy is also a place—that much is verifiable. You can look it up on Google maps and drive, or fly, there yourself, but bring your own water. Amboy is a ghost town in the Mojave desert. As such, Amboy represents the mutual imbrication of person and place (ghost and ghost town) in a manner that ultimately reflects on ecologies and the inextricability of a human from his or her environment. Amboy is abandoned and broken but still a sight to see, a beauty to behold. The experience and image of Amboy asks, Is the world over? Is this not what the future already looks like? Time is on Amboy’s side.

But, for our immediate purposes here in the gallery, Amboy is a horror movie. And before that, it is a trailer, a teaser for a horror movie about Amboy. Yes, not-knowing can be very frightening: What is real and what is made up? Is documentation and fiction a false opposition, and if so, what are facts? If the made-up becomes real, or the real turns out to be fictional, is that a sign of successful agency, superpower, or insanity? Scary shit. It has been said, to look is to doubt. It has also been said, by the man himself, “I Amboy or I Amgirl, I destroy the self.” True to the horror genre, death is a theme throughout. Many die and they are female artists; we wonder why and what this portends, or exposes. A range of explanations surely contains science fictional possibilities and conspiracy theories. If, beyond narrative concerns of plot and character, filmic death is always metaphoric, then what really is ending—and what new beginnings (because a living consciousness knows no absolute endings) would we hope for? 

- Sarah Lehrer-Graiwer

Frances Scholz (b 1962) lives and works in Cologne, Germany. She is represented by Sprüth Magers gallery.

Lisa Williamson
People in Nature
September 13 - October 25

 

PEOPLE IN NATURE

From 

Tree 
to 
Log 
to 
Piling 
to 
Sculpture


I wanted to make a group of sculptures that would have a mass and weight that was real. Not the shell of a sculpture but instead something that was solid from the inside out. I began thinking about “sculpture in the round” in a very literal way and the forms became decidedly totemic. 

Tree-hugging size, the proportions relate to myself, to other people, and to architecture. 

I appreciate the engineering term “piling”: a group of wood, steel or concrete columns that support a larger structure. When taken out of its original context, the word calls to mind something much more tangential and internal. 

Piling it on: piling on meaning, piling on paint, piling personality onto a material. 

In the context of this exhibition, these pilings are self-contained supports for their own wooden bodies. Consolidated and encased, the sculptures reinforce something heady and human. It’s in this space where things reshape and shape up. 

A painted forest of objects where colors animate and rest against one another, melon-balled pools submerge, vertical stacks glow, segments stand trim, and the muscular flex of material resonates. Head-size holes and arm-width seams clear things out. There is a weird potential or momentum in being able to reach your arm through an otherwise solid object. 


Lisa Williamson, September 2014

July 16 - August 10

The Mountain Bar at TIF SIGFRIDS

The Mountain Bar, originally founded by Jorge Pardo and gallery owner Steve Hanson in 2003 was situated in Chinatown, a center for art activity in Los Angeles at the time.  With numerous galleries and artist’s studios in close proximity, the intention was to create a meeting place that might foster meaningful exchange and as an artwork take into consideration relational concerns.  
 
In 2009, Pardo created the upstairs bar (Untitled 2009), that would become home to The Mountain School of Arts (a free school initiated by artists Eric Wesley and Piero Golia).  Constructed on the site that was once Pardo’s studio, the piece was treated as a VIP lounge, not open to the public and functioning as a mixed purpose space.  In addition to The Mountain School of Arts, various lectures, performances, and film screenings took place over the course of the next three years.
 
Originally intended as a ten-year project, the Mountain Bar officially closed in 2012.  Throughout it’s lifetime, the upstairs bar (Untitled 2009) housed lectures and presentations from artists and curators including Dan Graham, Hans Ulrich Obrist, Rirkrit Tiravanija, and many others.  As the activity that happens within each piece is important to all of Pardo’s work, Untitled 2009, tells a very lively past.  

From July 16 - August 10th, The Mountain Bar will be installed at TIF SIGFRIDS and open during special evening hours for a variety of events including film screenings, DJ nights, variety shows, and then some.  Please follow us on Facebook or check the website for an updated schedule.  Hope to see you!  

Thursday- August 7 Grace Devito Performs 
Please join us for a special performance beginning at 8 PM and featuring:

Shagha Ariannia, Colin Blodorn, Damien Bray, Jake DeVito, Zander Eckhouse,
Joe Fidler, Jessie Franks, Julia Leonard, Heidi Perlman, Rhea Perlman, Tif Sigfrids, Sam Sugarman

Saturday- August 9 Variety Show: A variety show hosted by Denver Smith
Please join us for a variety show featuring comedy, magic, music and a cirque du soleil style act performed by:
 

Lizzy Cooperman
Raj Desai
Donny Divanian
Denver Smith
Joe Sola
The Missingmen
(Raul Morales, Tom Watson, Mike Watt)
and more


Begins at 4PM

 

Sand in my shoes
André Butzer, Cris Kirkwood, Maja Körner, Daniel Mendel-Black, Thomas Winkler
June 7 - July 5

Sand in my shoes

I am cruising through the desert
The wind is banging on my ear
10 000 miles away from home
objects in mirror are closer than they appear


There are blue flowers on the sidewalk
I´m too fast to watch them grow
Buy some frosted flakes and hot dogs
while the sun is trying to go

How am I driving? How do you do?
How can I leave the past behind?
Unfinished future, sad and true
a bunch of questions on my mind

I´m so lucky, I´ve got air conditioner, that´s great! 
The heat is just illusion
Right in the middle of this state
the system´s the solution 

I stop at nine at motel six
The only place where i can go
Take a shower, swing my hips
in a room with HBO

Here I am, all dreams fullfilled
I am your governor´s lost son
There are so many words, I can build 
using the letters in „Fun in the Sun“.

It´s an empty time in an empty town
With Ice-cream, orange-juice and white bread
I met twentyeight girls in twentynine palms
„Hi! My name is Manfred!“


Thomas Winkler, Twentynine Palms, Oktober 2003

© Verlag Heckler und Koch, Berlin


Sand in meinen Schuhen

Ich fahre in der Wüste umher
Der Wind klopft gegen meine Ohren
5 674 Kilometer weg von Daheim
sind die Dinge näher als sie im Spiegel erscheinen

Es gibt hier blaue Blumen auf dem Gehweg
Ich bin zu schnell, sie wachsen zu sehen
Kaufe mir ein paar geröstete Flocken und heiße Hunde
während die Sonne versucht, zu gehen

Wie finden Sie meinen Fahrstil? Wie geht es Ihnen?
Wie kann ich die Vergangenheit hinter mir lassen?
Unvollendete Zukunft, traurig und wahr
Ein Haufen Fragen gehen mir durch den Kopf

Ich habe Glück, ich habe Klimaanlage, wie schön!
Die Hitze ist nur Illusion
Hier, in der Mitte dieses Staates
ist das System die Lösung

Ich halte um Neun am Hotel Sechs
Der einzige Ort, an den ich gehen kann
Nehme eine Dusche, schwinge meine Hüften 
in einem Zimmer mit Spielfilmprogramm

Da bin ich nun! Alle Träume erfüllt
Ich bin der verlorene Sohn Eures Gouverneurs
So viele Worte, die ich schon bilden kann 
aus den Buchstaben in »Spaß in der Sonne«

Es ist eine leere Zeit in einer leeren Stadt
Mit Eis, Orangensaft und Weißbrot
Ich habe 28 Mädchen in 29 Palmen getroffen
»Hallo! Mein Name ist Manfred!«


Thomas Winkler, Budapest, März 2004

Past Exhibition

Michaela Eichwald, Barry Johnston, Mathias Kryger, Frances Scholz, Jill Spector
March 15 - April 5, 2014

The group is alive with influences
renewing itself again and again with necklaces
of disease and inscription
       auras inside of auras
       of flies leave neon sheets
       of xeroxed information on the skin
       new edits unlocking
       precious fever
       the sleepless texts bending
       bodies to the alphabet
       as they strut
       and slap hands together
              In the marketplace of white chalk
              everything talks
              there is flooding
              and reeds are growing
              hollowed out books float on the water
              carrying drugs
              candles and blades
              across the border
                    handfuls of punctuation in our hair

-Barry Johnston

Past Exhibition

Albert Mertz: Watch Red-Blue T.V.
January 18 - March 1, 2014

TIF SIGFRIDS is very happy to be presenting the first exhibition of Albert Mertz’s work in Los Angeles, “Albert Mertz: Watch Red-Blue T.V.”  Albert was a Danish artist who lived from 1920 until 1990 and spent the last twenty-two years of his life working with what he called The Red-Blue Proposition.  Every day he painted things red and blue.  Paper, cardboard, canvases, and the chair he sat on, the wrapping of cigarette packages he smoked, the envelopes of letters he received.  Half red.  Half blue.  Once you know Albert, you’ll begin to notice what a popular color combination this is. For several years now, we’ve been thinking of Albert Mertz and nearly everywhere we go, something reminds us of him. 

You might ask yourself, why red, why blue?  To this we say, why not?  Contrary to much speculation (and affirmed through insider sources) we’ve discovered that the red had nothing to do with the Danish flag and the blue bore no relationship to water, sky, man, or woman.  It certainly wasn’t a question of beauty.  Albert, in fact, once claimed that the combination excelled because of its obvious ugliness.

The title of this exhibition is taken from a note we discovered in a journal dated March 10, 1987.   When taking stock of the myriad of notebooks he kept throughout his life, we noticed that Albert gave a lot of thought to television as an object, but also as an omniscient presence in the world.  Similar to his thinking about art, he observed that television isn’t interesting because it describes the world, but because it is a product of the world functioning within it. The object was important to Mertz, but not only as a container of ideas or concepts. For him, the meaning was in the use.  As he also once said, "The artist does not work for eternity (which the atomic bomb has put an end to), but for the here and now, for this day, today."

Also, we are told, Albert just liked T.V.  Prior to his death, he was chosen to represent Denmark in the Sao Paolo Biennale.  In a sketch for this exhibition, Albert proposed including 24 red/blue T.V. paintings, but due to his untimely passing these works were never realized.  With much excitement, we welcome Albert to Hollywood with this exhibition dedicated to a theme that seems fitting for the neighborhood. 

We’d like to acknowledge Lone Mertz’s (a.k.a. Mertz Mertz) insurmountable contribution to it’s organization.

 

Past Exhibition

Ulrich Wulff: Wulff's Artistic Training Facility Chambless, CA
November 16 - December 22, 2013

  

TIF SIGFRIDS is pleased to present an exhibition of new works by Ulrich Wulff.  Wulff's Artistic Training Facility, Chambless, CA- the artist's first solo exhibition in the United States- will be on view from November 16 to December 22.

In the summer of 2013, WUlff arrived in America from his native Germany intent on realizing a series of large-format oil paintings at a remote desert studio in Chambless, California- a ghost town of less then 10 residents along a strip of the well known, but seldom traveled Route 66 highway.  Working in an abandoned gas station, Wulff completed a number of watercolor studies in Chambless before retreating to a more conventional painter's studio in Los Angeles after encountering numerous conflicts with his materials due to arid, high desert winds.  Although finally completed off-site from the artist's rural training facility, the oil-based works that eventuated in LA were nonetheless informed by Wulff's hermetic sojourn to Chambless, where he cultivated an interest in exploring the quintessence of desert qualities like passivity, silence, recalcitrance, egolessness, vacuity, tranquility and even boredom.

Wulff's Artistic Training Facility, Chambless, CA comprises work of this recent Chambless/LA residency, and features Wulff's grandest painting to date in terms of scale.  Executed in what Wulff calls a "poetic" mode, the images display an uncomplicated concentration on line, color, clinamen, and contrast, and stand as evocative paeans to a deserted or reduced mental scape; what might be called the special Chambless state of mind.  Viewers are invited to dwell in and draw their own conclusions about this lyrical series that sings to simplicity, expanse, and the romantic indeterminacy of the empty American West.

An opening reception will be held on November 16, from 4-6 PM.

Past Exhibition

Joe Sola
Portraits: An Exhibition in Tif Sigfrids' Ear
October 12 - November 9, 2013

Interview with Joe Sola in Art in America 
Interview with Joe Sola in Huffington Post
Preview of the exhibition in LA Weekly
R
eview in the Los Angeles Times
Z
ocalo Public Square

TIF SIGFRIDS is happy to announce the opening of her new gallery on October 12th with an exhibition by Joe Sola entitled Portraits: An Exhibition in Tif Sigfrids' Ear. For this inaugural show, Joe Sola has created a series of six portraits ranging from 4/64 x 5/64 inches to 11/128 x 5/64 inches in size. The paintings, all oil on styrene, are hung in an exhibition space that will be situated in the gallerist's ear during gallery hours for the length of the exhibition. Sola's diverse practice includes video work, painting, and performance.

In his video work Sola has jumped out of windows (Studio Visit, 2005), been run over by a team of high school football players from Ohio (Saint Henry Composition, 2001), and rode roller coasters with male porn stars (Riding with adult video performers, 2002). In performances he has had male fashion models make art (Male Fashion Models Make Conceptual Art, 2005-9) and talked about his drawings with female escorts, (Talking About My Drawings with Female Escorts, 2010) This will be his first exhibition comprised entirely of oil paintings.

Joe Sola was born in Chicago in 1966 and received his MFA from Otis College of Art and Design in Los Angeles, California. His work will be included in the upcoming exhibition: Damage Control: Art and Destruction since 1950 at the Hirshhorn Museum and Sculpture Garden in Washington D.C. The exhibition is curated by Russell Ferguson and will travel to the Musee'd'Art Modern Grand-Duc Jean Luxembourg and Kunsthaus Graz, Austria in 2014. His work has been included in public exhibitions at the San Francisco Museum of Modern Art, Los Angeles County Museum of Art, The Wexner Center for the Arts, The Orange County Museum of Art, the Andy Warhol Museum, and most recently at 365 S. Mission Rd. He is represented by Blackston in New York.

The Press Release written by Leland de la Durantaye.
Gallery Hours: Wednesday - Saturday, 10-5
 
  • Untitled, 2013
    Oil on styrene, 4/64 x 11/128 inches
  • Untitled (Russell), 2013
    Oil on styrene, 5/64 x 6/64 inches

  • Untitled, 2013
    Oil on styrene 11/128 x 6/64 inches
  • Untitled, 2013
    Oil on sytrene, 4/64 x 5/64 inches

  • Young man crying, 2013
    Mixed media on styrene, 5/64 x 15/128 inches

  • Untitled, 2013
    Mixed media on styrene, 5/64 inches x 15/128 inches