The Collective Arts Incubator is pleased to present Limanalia: New Works, a series of solo artist exhibitions curated by Summer Peterson.
The series begins with paintings and installation by Rachid Bouhamidi. The opening reception features live performances by the Ecstatic Energy Lab and The Elbow Orchestra.
|Exhibition Opening Reception:
Saturday, February 11, 2017, 7pm -10pm
Performances 8pm -10pm
Rachid Bouhamidi‘s work is a hybrid of the representational and abstract languages of painting, which he extends to projects in sculptural and architectural media. He seeks to define certain aspects of transformation and liminal space occupied by everyday subjects via the usage of saturated color and formal juxtapositions. Rachid was born and raised in Southern California to French-Moroccan parents. He received his BFA from the School of the Art Institute of Chicago in 2006, and his MFA in painting and printmaking from Boston University in 2010. He lives and works in Los Angeles.
New York composer Omar Zubair and Los Angeles experimental guitarist Maneesh Raj Madahar (together the Ecstatic Energy Lab) conceive a neoshamanic ritual encompassing multiple players in varied disciplines including music and performance. Collaborators include WHEREAS and Josie J. Audience participation encouraged.
The world tree touches the planet where no body knows. It is said that to arrive at the place no body knows, an animal must begin by forgetting itself. To all those that arrive, the place no body knows is twilight that shimmers with the sound of countless tiny silver bells.
The roots of the world tree create a deep deep cavern. There is a djinn who resides within. This djinn is the breath of the eldest mother. It is said that if true friends wholeheartedly breathe together, they have the potential to touch this djinn. This is another path to the place no body knows. It is also said that if this djinn becomes aware of animal presences, there is a chance that the ego, the mind, the blood, the heart, and the flesh may dissolve and dissipate. All that will be left is the breathing and no thing else.
The world tree’ trunk is perceived as a dense vertiginous column of innumerable birds. Rising up and twirling down. The variety of birds is beyond conceiving. Sparrows and hawks and benus and eagles and phoenixes and peacocks and owls and anzus and ravens and garudas and on and on and on. The avian column kaleidoscopically transforms into very fine slow moving bursts of lightning. This lighting blooms outwards into a roiling mass of thunderheads that is smeared with blotches of furtive mirages. The mirages briefly reveal vistas of the horizon lines from wondrous landscapes, then melt and marble into the storm clouds. This is the crown of the world tree.
The world tree is not the first world tree. Much is forgotten of the first, save for the echo of its existence and that it needed no star and that it’s twin was the eldest mother.
But all of this is just a whisper heard in a dream, a fleeting buzz one may hear when encountering will-o’-the-wisps. Snatches of an indiscernible language that is felt to be seething with secrets but ultimately unknowable.
— Maneesh Raj Madahar
The Elbow Orchestra has been somewhere in the race to discover and measure the unknowable portions of the quantum universe for almost a decade. The finest steel instruments, in conjunction with the bones of the human arm and ear provide the mechanism for our infinite search.