LA Art Show 2019

Displacement

The World Is Lost

Each year I attend to LA Art Show. It is a display of the world’s art in multiple mediums, and in a beautiful and profound way, the voice of the world bellows. At this immersive display of global art, I am visually and creatively educated—and—have a clearer understanding of the state of the world; That unified sentiment is evident in the art displayed, and this year is no exception. As I attended the Opening Night Gala, before I even head in through the glass doors, I am greeted with a row of red stop-sign-esque sculptures whispering messages like, “I’m sorry”, “please forgive me”, and “thank you” setting the tone for what will be an invitation to be better humans. Attending in the hopes of understanding a more global mindset, an artistic openness, and a hopeful eloquence I engage in this year’s art show. What I found was a truth far more meaningful and haunting than any year passed.

Art is screaming out louder than ever and its universal theme—Displacement. – DG

The world is lost, and regardless of the artistic medium exhibited in this year’s show, the common thread existing in the exhibition widely exemplify the echo that perhaps, no one in the world knows where we stand as a species anymore.  From Cristian Castro’s installation of “27 Peces”, Mike Stilkey’s “The Lady of Arlington”, Guan Zhi’s “Penlai Blooming”, Rebecca Moyalem’s “It’s Getting Hot Out Here”, Erin Currier’s “Salvavida’s”, the transparency and beauty of Pancho Luna’s “Circle”, Anthony James’ “Portal Icosahedron”, David Reis’ “Empire”, and the powerful performance art by Sarah Trouche “You Should Wear Your Revolution”, the world is at odds with itself.

Wandering down each aisle rich in visual story, culture, history and truth, you can quite literally feel the difference in the pulse of what is cleverly scouring the walls of each booth; Artists so hungry to speak out yet uncertain of what it is they need to say. This year you will find yourself unencumbered by societal restraint and thrust into an awakening of sorts. You will find an unraveling of the human spirit, a powerful surge of female empowerment, and a desperate need for community.

Of all of the exhibitions, Sarah Trouche’s “You Should Wear Your Revolution” is one piece of performance art that eludes traditional roles by making the female vulnerability, strength, and ferocity visible using two hugely contrasting elements: the most intimate aspects of a woman and the harshest element of enclosure. Utilizing women’s panties sent to her from all around the world, Trouche paints her flesh a shade of purple—a color that signifies both passion and death—and wears only a pair of underwear. She moves across the concrete floor tucking various pairs of panties into her own and then crawls, walks, or grazes herself towards the rounded circles of barbwire. Shaped to represent what I believe are the once restricted undergarments (hoop skirts) ladies wore under their dresses and corsets at the turn of the century, the contrast of fragility and rigidity echoes like poetry. Challenging women to do more than march, she asks society and the community of art lovers to speak their truths, act on their purpose, and dare to revolutionize with intent. The barbwire signifies our resilience yet our delicate nature, and the panties represent our truest form of femininity, something so incredibly personal we can’t help but feel exposed. It is powerful and apropos as women find their way out of the oppressive realms of which we have been so unlawfully entangled in.

Overall this year’s LA Art Show may not seem as flashy as year’s passed, but the subtle nuances encouraging us to tap into our childlike wiles, breathe in an air of innocence, all while navigating our way through treacherous political uncertainty; an uncertainty wafting through the air in nearly every nation of the this magnificent yet troubled world. This show pivots us from an era of uncertainty, politely demanding we turn it into one of action. May we heed the call …