2019 2018 2017
MARATHON SCREENINGS is a series of salon-style film & video presentations that invites international and LA-based artists to share their work and engage in meaningful dialogue. The program includes films that range from short, conceptual videos to feature-length experimental documentaries, in addition to performances and lectures. The films discuss issues surrounding individual identity, representation, and historical consciousness in a shifting geopolitical landscape.

Note from the Curator: What began as an intimate gathering in my living room has since grown to include a roving series hosted by art-loving individuals in their homes, nonprofit art spaces, and now Zoom. The series was born from a casual conversation and a desire to give video art the platform it deserves. It has since grown to accommodate a growing appetite for presenting talented and challenging work in a non-hierarchical environment. With an emphasis on engaged, organic conversations, the screenings took place around a communal dinner, and plenty of wine. While Covid-19 has removed this wonderful feature, it has since introduced a new opportunity to connect with moderators and participants from all over the world. I look forward to reconnecting with all of you in person, but until then let’s savor this sliver lining and consider what we can do to make this world a more welcoming and safe home for everyone. Happy New Year!  

The series is produced by LA-based curator Asha Bukojemsky. BIO here

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Rodrigo Valenzuela 
Prole, 2015. HD digital video, 8:47 min           
2018. HD digital video, 2:29 min

In Prole, Valenzuela focuses on a different group of men: Latino workers who have gathered to play soccer in an empty warehouse. Their uniforms are emblazoned with a union logo, and they eventually abandon their match to take up discussions of labor: how they view their work ethic, how they present themselves as workers to their American bosses, and what they feel is at stake in organizing as a union. Debate emerges within their conversation, highlighting how American culture’s emphasis on self-reliance and individualism conflicts with initiatives that foreground collectivism and the common good.

Tertiary depicts a group of aspiring actors while calling attention to the all-too-common practice in the film and television industries of populating scenes with people of color but relegating them to roles as extras. As the artist has noted, the artifice of “diversity” in casting is worsened by another form of discrimination: the facial recognition technology on most digital cameras has been calibrated for white-skinned faces and thus struggles to properly capture the faces of those with darker skin. In the narration that unfolds in Tertiary, these issues give way to broader reflections on recognition, visibility, and belonging in civic society and popular media.

Rodrigo Valenzuela (b. Santiago, Chile 1982) is a Los Angeles-based artist whose work focuses on recognition, visibility and belonging in civic society as it pertains to Latino bodies, labor issues and the blue-collar mindset. Valenzuela studied art history and photography at University of Chile, holds a BA in Philosophy from The Evergreen State College and an MFA from University of Washington. Recent residencies include Core Fellowship at the Museum of Fine Arts, Houston; Skowhegan School of Painting and Sculpture; MacDowell Colony; Bemis Center for contemporary arts; Lightwork; and the Center for Photography at Woodstock. Recent solo exhibitions include Screen series at the New Museum, NY; Lisa Kandlhofer Galerie, Vienna, AU; Work in Its Place, Jordan Schnitzer Museum of Art, Eugene; American-Type, Orange County Museum; Labor Standards, Portland Art Museum; New Land, McColl Center, Charlotte; Prole, Ulrich Museum of Art, Wichita; Future Ruins, Frye Art Museum, Seattle. Rodrigo Valenzuela is an assistant professor at University of California, Los Angeles and the recipient of the 2017 Joan Mitchell award for painters and sculptors.