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This is a black and white graphic with the words (left to right, top to bottom): February 4 - April 22, 2021 Abareshi, March 4 - April 22, 2021 Garcia, March 18 - April 22, 2021 Dorriz, and January 14 - April 22, 2021 Espinoza. The last names refer to the exhibition artists, and the dates refer to the exhibition dates.
This is a color photograph of a work by Tristan Espinoza that depicts a blue cyanotype of an abstract plant form. The cyanotype image is positioned on the right side on top of a slightly lighter shade of the dark blue background. There is also a thin white line going down the middle of the work.
This is a color still of a video work by Panteha Abareshi that features the artist with a 35mm slide projection in a dimly lit room. The artist faces the wall with the projection, which depicts a red and white rectangular graphic. The words in the graphic read (top to bottom, left to right): Preventative Measures, Stop the body from damaging itself further. Below these words is a diagram of a pelvis.
This is a color photograph of a sculptural work by Maru Garcia. The work is a circular glass vase half filled with living culture. The neck of the vase is covered with a tan cloth. The vase is placed on a pedestal that has a dimly lit top surface.
a dorriz new

The City of Los Angeles Department of Cultural Affairs (DCA) and the Los Angeles Municipal Art Gallery (LAMAG) are pleased to present a series of four solo exhibitions featuring newly commissioned work by Los Angeles artists Panteha Abareshi, Alexandre Dorriz, Tristan Espinoza, and Maru Garcia. These series of exhibitions reimagine the role of the gallery experience for our current times by presenting research-based artists outside of the white box. Each respective exhibition engages a variety of interdisciplinary themes, with Tristan Espinoza’s activation of machine learning; Panteha Abareshi’s relationship to epidemiology; Maru Garcia’s creative approach to experimentation, cellular evolution, and collaboration; and Alexandre Dorriz’s investigative research into the mechanics of transactions, public policy, and water rights.


Tristan Espinoza: Index, Interiors, January 14 — April 22, 2021

Index, Interiors features the new, site-specific, web-based artwork titled perennial, a project archiving the artist’s personal and cultural histories associated with Southern California’s ubiquitous citrus heritage. At its root, perennial is an index of recorded and rendered approaches in Espinoza’s (in)visible labor—from the hand-made artistic medium of cyanotypes to an obscured second-hand comprehension derived from artificial intelligence—poetically cultivating a discourse around societal relationships and distances to material experiences, memories, and their proxies.


Panteha Abareshi: Tender Calamities, February 4 — April 22, 2021

Tender Calamities examines the tensions between the impermanence of the human body and the intimate objects (both biological and synthetic) that our bodies leave behind after ceasing to function. Human prosthetics act as the object of focus in Abareshi’s two new films and installations featured in the exhibition, further activated through a series of mechanized positions and movements by the artist’s own body to explore the proposition of prosthetics as objects and ideas beyond their function. In complicating traditional notions of memento mori, Tender Calamities reassesses and normalizes the diseased, malfunctioning and otherized body as a natural phenomenon—normal, inevitable and an object of life.


Maru Garcia: membrane tensions, March 4 — April 22, 2021

Transforming the Los Angeles Municipal Art Gallery into an active laboratory, membrane tensions features a constellation of new, site-specific works composed of cellulose. The cellulose (produced and harvested on-site at the Gallery) is used as both an intervention in the Gallery’s balcony windows and an installation of sculptural objects and light projections, alluding to the beginning of life where the delineation between internal and external was essential for life forms to first emerge. In using and placing cellulose (literally and figuratively) as the medial, membrane tensions anticipates future exchanges through reimagining the basic building blocks of primordial relationships.


Alexandre Dorriz: Public Sculpture 001-C, March 18 — April 22, 2021

Alexandre Dorriz’s practice investigates the politics and power networks often unnoticed behind the facades of public essentials such as space, land-use and water distribution. Public Sculpture 001-C takes viewers through a journey of research, particularly focusing on the tallying and mapping of the many means and measures involved in advancing an artist’s concept through production phases and public presentation. Dorriz’s research-based process unfurls bureaucratic affairs to issue a space for vital conversations in creative production, such as the monetization of creative labor, complicated discrepancies in funding and the dynamics behind transactions such as donations and public acquisitions, ultimately revealing the internal exchanges that determinately shape and shift the materialized and fabricated value structuring a commissioned public work.


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This is a color photograph of a sculptural work by Maru Garcia. The photograph is a close-up of a circular glass vase half filled with living culture. The top half of this photograph depicts the condensation of water droplets against the clear glass, with green and yellow biomorphic shapes behind it. The bottom half of this photograph entails living culture hanging from the surface of the water. The culture is yellow in color and pairs against a green colored water. There is white text on top of the image that reads (top to bottom): Let's Look at Art! Family Guide Winter 2021

Image captions (clockwise)

Tristan Espinoza, perennial, 2020. courtesy of the artist.

Panteha Abareshi, Methods of Care for the Precarious Body, 2020. courtesy of the artist.

Alexandre Dorriz, Public Sculpture 001-C, 2020. courtesy of the artist.

Maru Garcia, membrane tensions, 2020. courtesy of the artist.