Super Sarap November 3 - December 15, Opening Reception: Saturday, November 3rd, 6-9 PM at Gallery 6/67 Featuring Mik Gaspay, Jeanne F. Jalandoni, and O.M. France Viana Guest curated by Patricia Cariño Valdez
Within the last several years, chefs and foodies from around the country have hailed Filipino cooking as the “next big food trend.” Although, trendify-ing a cuisine allows it to enter into the larger cultural consciousness, it also raises the question: A trend for whom? It is a label that often appears only on “ethnic” cuisine or non-white food, and classifying it as such dismisses the historical nuances and communities that develop it. For many, a trend is not new or alien; it is familiar and the norm. In Super Sarap, three artists Mik Gaspay, Jeanne F. Jalandoni, and
O.M. France Viana revisit commonplace objects and food within Filipino cooking. Through sculpture, photography, and video, the artists elicit personal and collective memories and offer cultural connections that go beyond the Philippine diaspora.
Mik Gaspay’s practice examines mass produced objects and explores it in relation to capitalism’s effects on migration and assimilation, class, and identity. In Super Sarap, his newest video work pixelates the clichéd island landscape, echoing oversimplified notions and assumptions of exoticized foreign land. Recalling symbols of tourism, Gaspay remembers the prominence of the decorative wooden spoon and fork sculptures that hang in Filipino kitchens. Using faux, wood-grain-patterned textile, he renders a parody of it: a delicate, awkwardly large, pillar-sized replica. Jeanne Jalandoni also utilizes textile to evoke memory of home by making “objects of comfort.” Using soft and plush material, she creates covetable toy rice cookers. In the exhibition, she premieres a series of quilts that stitch together the ingredients to create traditional Filipino dishes. With a keen focus on food is O.M. France Viana’s Color Palate series, where minimalist photography looks like extraterrestrial landscapes. However, the work reveals themselves to be Filipino ice cream—purple ube, green avocado, pink guava. Viana’s vibrant neon “UBE” sign seduces with an intense violet color, which is natural to the purple yam and is ubiquitous in Filipino and South East Asian desserts.
The exhibition title, Super Sarap fuses both English and Tagalog together, to hold multiple meanings. It can convey something that is extremely delicious, an expression of excitement and affirmation. It can also imply an exaggeration in terms of scale: something that is beyond, powerful, large, and exceeding the norm. In thinking about the transformation of foreign to familiar, specifically the indigenization of food, Manila-Born Food historian Doreen Gamboa Fernandez’s (1934-2002) cites that Filipinos sprinkle patis (fermented fish sauce) on foreign dishes or carry with them when they travel to “‘tame’ the alien.” Artists in Super Sarap play with these definitions and mutate symbols, making them both strange and familiar, challenging the expectations of cultural norms.
Accompanying Culinary Events
Thursday, November 15th, 6 PM - Artist talk & Exhibition Walk Through, 7 PM - 4 Course Dinner with Chef Ross Pangilinan
Sunday, December 9th, 5 PM - Artist talk & Exhibition Walk Through, 6 PM - 4 Course Dinner with Chef Ryan Garlitos
Valdez was selected as one of the four curators to participate in the 2x2 Solos Program series at Pro Arts in Oakland, CA. She worked with Samuel Levi Jones to commission new work for his upcoming solo show entitled, Talk to Me.
On view from August 18-September 18 Artist reception will be on September 4 6PM Artist talk September 12 11AM
Words like "freedom," "justice," "democracy" are not common concepts; on the contrary, they are rare. People are not born knowing what these are. It takes enormous and, above all, individual effort to arrive at the respect for other people that these words imply. -James Baldwin, “The Crusade of Indignation,” The Price of the Ticket.
For 2 x 2 Solos, Samuel Levi Jones presents Talk to Me, a large site-specific installation of deconstructed law books. These texts, which are usually found neatly organized in law firms or law school libraries, archive federal and state laws that are applied and interpreted by the courts. Through an intense physical process, Jones pulls, rips, and tears apart the leather from its cardboard covers revealing the books’ underside of flesh-toned yellows, reds, and browns. Behind the privacy of his studio, these actions—akin to protest—shift. Jones begins the focused effort to delicately sew the softened material together, thereby building a new structure.
At the Pro Arts gallery, the enveloping installation of Talk to Me appears in the same sight line as Oakland City Hall. The juxtaposition of the exhibition against the center for civic engagement elicits a tension between the law and one’s position in the larger society. Talk to Me interrogates the limits of our legal system by rendering these books exposed and unbound. At its essence, Talk to Me is an invitation for dialogue about the structure that governs our bodies and lives. This very dialogue—as Baldwin underscores—is the necessary work individuals must endeavor to establish respect, recognition, and understanding.
Public Program: Artist talk with Dr. Leigh Raiford, Chair of African American Studies at UC Berkeley
On view April 11-May 2, 2015 Artist Talk May 1 Burnt Oak Gallery
OFF adverb: Away from place; to a state of discontinuance or suspension preposition: used to indicate separation, distance, or removal from someone or something adjective: not operating, functioning, or flowing not entirely sane verb: to go away
The title of Channing Morgan’s exhibition Off the Surface is a peculiar one; it asks, what is off the surface? What does it mean to be off?
In thinking about the series of paintings, site-specific installation, and prints at Burnt Oak Gallery, there is something curious about Channing’s works–at first, it appears jarring, yet soon after, when one considers the work beyond face value, an intriguing undertone arises.
Channing’s pieces interrogate our immediate assumptions and challenge our understandings of societal norms, expectations, and stereotypes. Why are these our norms and why do we think this way? Channing’s works encourage us to feel awkward and uneasy.
Off the Surface puts forth necessary and uncomfortable questions about privilege, power, perceptions of one another, and one’s self.
Channing Morgan is an artist based in San Francisco where she is currently an MFA candidate at the California College of the Arts. Originally from Atlanta, Georgia, she received her BFA in Printmaking from the University of Georgia in Athens, Georgia. She utilizes text-based work, installation, and performance to negotiate her perspective on race, recognition, and the presumption of their stability. Her work has been shown across Georgia and more recently across the Bay Area in San Francisco and Oakland.
Kate Rhoades: Lil' Painty Goes to Market
On view March 14- April 11, 2015 Artist Talk April 3 Burnt Oak Gallery
Navigating the commercial “Art World” is no fun—it’s a hot mess of ego, money, and plenty of awkward schmoozing. In Lil' Painty Goes to Market, Kate Rhoades satirizes this tired cliche by illustrating Lil’ Painty’s life as it passes through the strata of the commercialized art world.
In the end, we lose focus on our rectangular, oily friend, and we are left asking: Where else can/may/should Lil’ Painty go?
Burnt Oak is proud to present Rhoades’s first solo exhibition.
Kate Rhoades is an Oakland-based multimedia artist. Influenced by a background in comic books and YouTube videos, Rhoades uses paint, video, and miscellaneous methods to probe the absurdity of the art world in all its social and institutional facets. She received a BFA from the Columbus College of Art and Design, and an MFA from Mills College. She has attended an unsanctioned residency at Bemis Center for Contemporary Art in Omaha, and her work has been exhibited in art venues, alleys, and hotel rooms across the United States and Canada.
PMx (Post Meridiem)
PMx (Post Meridiem) is a collaborative curatorial project created by Patricia Cariño and Marie Martraire that explores the intersections of contemporary arts and social media through research, writings, exhibitions, and other programs.
Group exhibition featuring works by Martin Soto Climent, Rana Hamadeh, Li Ran, Cinthia Marcelle, William Powhida, Ian Wallace, and Real Time and Space.
Decades after the “post-studio turn” announced by Conceptual art and Minimalism, this exhibition seeks to reconsider the status of the artist’s studio. Many contemporary artists eschew the traditional studio, producing work on their computers, or directly at the site of exhibition. Some struggle, in an era of eviction and dislocations, to carve out the actual space and time—with its attendant forms of reflection and creativity—that the studio once promised. Others retain a bounded, physical space for making, but one that is transformed by the web, social media, and contemporary conditions of labor. No longer solely a notional interior space of individualistic thought and craft-based making, sovereign and separate from the world, today the studio has become externally focused: a networked media center, a factory, a storage zone, a semi-public showroom.
Many Places at Once presents new commissions and existing works by six international artists and one artist community. The exhibition provides new insights into the nature of contemporary artistic production and the spaces in which it takes place. Taken individually, each work represents a site: a hotel, a notebook, an archive, a network, an event, a community, or a stage. Some works symbolize the studio as a site of private reflection. Others manifest as temporary constellations of objects or people, and yet others operate in the exhibition itself as studios, or as theatrical stages. Together, the works embody the “many places”—both physical and conceptual—that “at once” constitute the reimagined artist’s studio.
Many Places at Once is an exhibition curated by the graduating class of the Graduate Program in Curatorial Practice at California College of the Arts with the support of the Wattis Institute for Contemporary Arts.