Happy New Year from ICA LA!

We hope that your year is off to a great start. As we say hello to 2023, we also say goodbye to our fall 2022 exhibitions. Please join us as we celebrate the final days of this extraordinary season of shows featuring Rebecca Morris: 2001-2022, My Barbarian, and Ad Minoliti’s commissioned mural for our building façade, all of which will remain on view through Sunday, January 15, 2023. And don’t miss the opportunity to kick-off the closing weekend of these shows with an Art Buzz exhibition walkthrough with artist Rebecca Morris on Friday, January 13, at 7pm.

Also this month, on Wednesday, January 11, we will be hosting Kyiv in LA, a screening and fundraising event with Ukrainian filmmakers Roman Khimei and Yarema Malashchuk, and on Saturday, January 14, there will be a book launch and performance with Heidi Duckler Dance. More details below!

Opening in February 2023, we are thrilled to announce our spring exhibitions, each of which features a different artist whose work uniquely engages with sound, including Milford Graves: Fundamental Frequency in our main galleries, Jacqueline Kiyomi Gork: Into/Loving/Against/Lost in the Loop in the Elsa Longhauser Project Room, and Christine Sun Kim: Bounce Back, our next outdoor mural commission. Stay tuned for a preview of what’s in store with these shows in our FOCUS newsletter next week.

In preparation for these upcoming exhibitions, ICA LA will be closed to the public from January 16 through February 10. Save the date for our OPEN HOUSE, February 11 from 3-6pm. Additional details on the opening festivities to follow!

Looking forward to all that is ahead hoping that you will stop by in these final weeks of our fall exhibitions before we close.

We look forward to seeing you soon,
Team ICA LA

Kyiv to LA:
Connecting Contemporary Ukrainian Artists to Los Angeles
Wednesday, January 11, 7–9pm, In-person

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For the inaugural Kyiv to LA screening, filmmakers Roman Khimei and Yarema Malashchuk will present their most recent works, including The Wanderer (2022), How It’s Made (2021), Live Stream (2020), and Dedicated to the Youth of the World II (2019). This marks the first in-person presentation in the U.S. of the artists’ work.

Art Buzz: Rebecca Morris on Rebecca Morris: 2001–2022
Friday, January 13, 7pm, In-person

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Join us for a happy hour tour to kick off the final weekend of Rebecca Morris: 2001–2022 with the artist herself and ICA LA Director of Learning & Engagement, Asuka Hisa. The exhibition tour will be followed by light refreshments and nibbles.

Book Launch: Heidi Duckler Dance: 2016–2021
Saturday, January 14, 3–5pm, In-person

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Join us for a special launch event for Heidi Duckler Dance: 2016–2021, a visual compilation of the company’s works from 2016-2021 designed by artist James Robie. Heidi Duckler and James Robie will discuss the creation of the book followed by a book signing; and Edgar Aguirre, one of Heidi’s favorite dancers, will perform a short piece choreographed by Duckler.

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FREE PUBLICATION

Half magazine, half poster, Le point d'ironie is a hybrid periodical conceived by Christian Boltanski, agnés b., and Hans-Ulrich Obrist. Printed in an edition of 100,000 copies and distributed free of charge around the world at museums, galleries, schools, cafés, cinemas, and shops, each issue gives carte blanche to an artist.

The newest edition of Le point d’ironie is designed by artist Jim Jarmusch, who writes:
"For my collages, I only use newsprint for their sources, and most only involve the removal and/or replacement of heads or faces. I remember as a child I was given a microscope for my birthday. The first thing I examined through this lens was a tiny piece of torn newspaper. I was amazed. Instead of being a single, solid sheet, it was actually a tangled mass of threadlike fibers, a chaotic jungle of microscopic pulp. Ever since then, the fragility and inherently temporary nature of this particular (now almost obsolete) material has drawn me in."

Pickup your copy of Le point d'ironie for free at ICA LA while supplies last.

LAST CHANCE—CLOSING JANUARY 15

Rebecca Morris: 2001–2022

Rebecca Morris: 2001–2022 presents a 21-year survey of Los Angeles-based painter Rebecca Morris (American, b. 1969), an artist best known for her large-scale paintings and inventive approach to composition, color, and gesture. One of the most formidable painters working today, Morris’s practice demonstrates a rigorous commitment to experimentation and abstraction. Marking the artist’s first major museum survey since 2005, the exhibition is the first of this scale in Los Angeles, where she has lived and worked for nearly 25 years. The occasion also marks Morris’ return to the ICA LA (formerly the Santa Monica Museum of Art), which hosted the artist’s first museum exhibition, titled Frankenstein, in 2003.

My Barbarian

For two decades, the members of My Barbarian—Malik Gaines, Jade Gordon, and Alexandro Segade—have used performance to theatricalize social issues, adapting narratives from modern plays, historical texts, and mass media into structures for their performances. My Barbarian traces the history of the group’s work through video, performances, and documentary footage, as well as sculptures, paintings, drawings, masks, and puppets drawn from their extensive archive. Designed as an immersive 3-channel video installation for a single gallery, the exhibition features a two-hour compilation of new edits to the trio’s years of collaborative work, featuring performances for the camera, video documentation of live performances, photographs, and previously unreleased footage drawn from the group’s extensive archive.

Aquelarre no binario / Non-binary coven

Commissioned for ICA LA’s courtyard wall in summer 2022, in conjunction with the opening of The Condition of Being Addressable, this site-specific mural by artist Ad Minoliti (b. 1980, Argentina) titled Aquelarre no binario / Non-binary coven (2022) features geometric shapes that serve as representations of physical forms and their spatial relationship to one another. The result is an abstract topography of queer intimacies along the mural façade that speaks to Minoliti’s ongoing exploration of fantasies in dialogue with techno-feminism, sci-fi, and speculative narratives.