Barbara Kaucky, Dorit Margreiter, Florian Pumhösl and Martha Stutteregger, Michael Wildmann with David Hullfish Bailey, Elisabeth
Hesik, Kaucyila Brooke, Richard Sparham, Robbert Flick
Thu, 20.09.2001–Sun, 28.10.2001
MAK Center L.A., Schindler House
The exhibition offered a multiplicity of viewpoints for regarding the Los Angeles cityscape as seen in the work of David Hullfish
Bailey, Kaucyila Brooke, Robbert Flick, Barbara Kaucky, Richard Sparham and Elizabeth Hesik, Dorit Margreiter, Florian Pumhösl
and Martha Stutteregger, and Michael Wildmann. Just as each individuals perspective is unique and no single outlook
tells the whole story, the exhibition title, 20/35 Visionthe average of each contributors eyesightrepresented
the un-ideal vision of any singular view of the city.
Barbara Kaucky, Richard Sparham, and Elizabeth Hesik presented an installation with videos that documented their survey in
planned communities in Southern California. The artists focused on Ladera Ranch in Orange County, Slab City near the Salton
Sea, and Valencia in the Santa Clarita Valley. This architectural and anthropological investigation was documented in the
form of travelogues, videos of installations created at the sites, and, eventually, a book.
Employing video, photography, and narrative panels in "I Like L.A. and L.A. Too," Dorit Margreiter explored the concept of
"home" and conditions for "ideal living." The project title refered to a New York Times article entitled "I Like New York and L.A. Too," which described the complex and layered ambivalence that underlies the city
structure and popular notions about Los Angeles. Margreiter explored various concepts of the "ideal" life stemming from different
historical and personal perspectives, including those developed by architects, urban planners, filmmakers, critics, and theorists.
Martha Stutteregger and Florian Pumhösl devoted their time in Los Angeles to researching the modern aesthetic vocabulary of
sacred spaces, from storefront churches to temples and shrines. Considering the spiritual and communal functions of a church,
the architectural prerequisites of Modernism and the patterns of social life in Los Angeles in their installation, the artists
transformed the storage room into a sacred space.
With his video installation "Stop and Go," Michael Wildmann approached the city as a biological organism, viewing traffic
corridors as veins for life in motion. Typical urban structures and suburban sprawl were recorded from different views and
at a variety of speeds. The "genetics" of settlements were analyzed, reproduced, and newly assembled as Wildmann searched
for the DNA that grew a perfect city. The installation experimented with these idealized pictures of urban spaces and the
psychic reactions they engender.