Tomorrow night at The Lab is a group of performance including MSHR, Rubber (() Cement, and Waxy Tomb in conjunction with the exhibition, “Brenna Murphy: Liquid Vehicle Transmitter” on view at the Yerba Buena Center for the Arts (YBCA) in San Francisco, July 19 – September 8. The performance will also feature two local experimental noise projects, Waxy Tomb and Rubber O Cement, along with DJs Paul Haney (Obsolete Units) and Ceci Moss. The event will begin at 8:00 pm and continue to midnight. Tickets are $7.
MSHR (Brenna Murphy and Birch Cooper) explores ceremonial, cybernetic and cyborgian realms through interactive installation, computer generated spaces, analog instrument design and ritualistic performance. Using blind probe-heads for hands they feel out the space of the hyper-object chamber, exploring the texture and searching for new hallways.
The hallway opens to a beach at night. Bioluminescent nano-bots illuminate the pathway. The sand, ocean and dunes form an integrated circuit. An electric wind courses through the fleshy exoskeleton. Nightscape Navigator ceremony now commencing: Mind manifested ‘glyphs are warped to reveal the shape of sentience.
You can check out MSHR online at http://vimeo.com/47271144
Coalescing in yr. 1994, Rubber (() Cement was put together as a direct idea for a super science future that will happen. The next technological breakthroughs are realized in a zero-tech way with the emulation of the unrealized ‘next step’ with the actual “vision” existing in the present (picture a cargo cult with stats on NASA industries). The first experiment was to build a Computer that plays music and looks like it’s doing something. Rubber (() Cement has worked onstage with Violent Onsen Geisha, Utah Kawasaki, James Twig Harper. Studio work has extended into Blue Sabbath Black Cheer, Sigtryggur Berg Sigmarsson, Marc van Elburg, & Masaya Nakahara’s catalogue.
Historically Rubber (() Cement came out of a few shows: one in L.A. with Speculum Fight, and a Japan tour where there was going to be 10 tape release, all at once, with stacks of comics, action figures, trading cards all from the closing of “Comics and Cosmos” who filled up their sales bins with nickle items. Wanting to redistribute this mega closeout overseas, a roadie job opened for some ingrates in a rock band. Since then the bowel has kept rolling down the technological chromo-hill into the mercury ocean of endless alumino-butyl face welding. Flakes chipped away to a core of faulty keramik iron-consistency, Rubber (() Cement persists years later as a projected cargo cult mimicking the year 6000. This is particular live visual assemblage is the antithesis of nescient paint-sperm masterpieces smaller than most microbe canvases played out on a Los Angeles sound stage initially. The off camera Motherboard Superiors are crossing themselves in a solid state soldiery light source pattern giving an aura of “first omega book prophecy” to the ManOSores (off timeline, unbeliever, and inadvertently) powering the onstage stint you use your exposed ocular nerves to signal with rapt persuasion. It really is up to you to “read” the signs and gestures here to your audio reception-mix. This presentation is coming in contact with a visual bleach blanded ketone solvent that your loose sockets are watching while the individual mouse clicker, would spray paint the entire facial/chest area with a high speed electric cardboard erupting cleaner for maximum excitement-fury inner brain counter attack. Rubber (() Cement realizes all tires as sentient animals covered in stamped hieroglyphs. The world is a reading surface-ribbon for any number of distributed microscopic eyes.
You can check out Rubber (() Cement online at http://www.youtube.com/
Waxy Tomb is the name of the disequilibrium chamber which is used for the cooling process after transformation self-columns have been thoroughly collapsed and dis-localized by ocular-temporal shifts in phase space. This is necessary for the identification of the sutures and seam-lines between modified supra-objects. These sutures are exemplified in their localize state as space between skin and skeleton, building and infrastructure. But they can also be localized by temporal states: layered embalming allows a shifted object to also contain its own system formation manipulation. To make the sutures re-identifiable and enclose them in a material, they must be dislocated from their state or process between. Their re-enclosure involves a repeated re-enactment of their original surface tension patterns and finally nodal-substrate recollection. This results in a diffusely situated self-embedded temporal column. Waxy Tomb is Julia Litman-Cleper.
You can check out Waxy Tomb online at http://
Also on view at The Lab is Klea McKenna’s “Volcano Watchers” a solo exhibition in the front room gallery space. Klea McKenna’s “Volcano Watchers” showcases McKenna’s exploration of experimental photography techniques. “Volcano Watchers” takes as subject the artist’s off-the-grid childhood on the rural slopes of Mauna Loa, Hawaii. Her large-format color and black-and-white photograms make explicit use of natural materials (rain, fire, leaves, and light) to tell both a story of place and of photographic chemistry. Hovering between abstraction and the purest kind of representation, McKenna uses her work to investigate the feeling of a place through its imprints, both physical and mental. “Volcano Watchers” will be on view until August 3rd.
This exhibition looks promising and recommend you to check it out. For more information visit here.