A temporary gesture touches down. Please join
us.

April 21, 4 - 6:45 PM
5 PM Sounding Performance
Section Six, Joshua Tree CA
Latitude 34.1124 Longitude -116.2848

LANDER is a gathering to explore and experience
low-impact, nomadic technologies for opening, focusing and in so
doing, beginning to prototype other futures. We will meet on public
land to erect and disassemble this mobile altar.

The event will end promptly at 6:45; gates to Section Six
are locked at 7 PM.

62882 Onaga Trail, Joshua Tree, CA
Contact: info@panel.la

We are writing to let you know PANEL LA has moved on to its next level of research. This level is in fact done in an exterior state. Meaning, that it is done completely exterior from the body. At this level, the body is nothing more than an impediment, an encumbrance to any further gain.

Thus, in January PANEL LA discarded its first body–not without violence, losing one’s first body is always painful. This body was possessed by a capitalist and rendered obsolete through unsustainable and speculative growth–so ceased to facilitate PANEL’s existence in this universe, and in fact that body had become an impediment to the work it now must do outside of its confines. As PANEL’s friends, we felt it was important that you were the first to know.

I can understand that many of you are probably experiencing the effects of this. However, it is important that you can put this into the proper perspective. The being we knew as PANEL still exists. However, the body is gone for now. Although you may feel grief, understand that PANEL has simply moved on to its next step...

Upcoming Projects Include:

Publication Release / Carmen Argote, Documentation of Mobile Platform and Economies of Art Production, (working title), June 2018, part of Made in LA at the HAMMER Museum

Web Based Project / Lisa Radon, proposal for the creation of an open sourced glyph with forthcoming publication, TBA, 2018

Simulated Labor is the first solo exhibition of Nate Gonzales-Hess. Using software tools from the spheres of special effects and scientific modeling, the artist has created mathematical approximations of the natural world to explore the entropic processes that differentiate real life from virtual life (data). His pieces are “stills” harvested from animated simulations: stasis points of decay, breakdowns and collapses applied to imagined materials in various states of entropy.

As relationships of scale and perspective become more complicated, digital descriptions ultimately fall into the realm of approximation and abstraction. How do we simulate something as impossibly complex and vast as the ocean? And what understanding do we gain or lose by trying? Simulated Labor acknowledges that the tools of digital rendering lay foundations for the mathematical aesthetics that we increasingly inhabit. And yet, software is not a cold machine — In a sense we can consider the imagination or individualistic vantage points of the coder as an injection of the infinite within the reduced state of simulation.

Pyramids is a solo exhibition by Carmen Argote that includes a large scale new sculptural installation, drawings and video that engage questions surrounding distorted notions of luxury and value. Argote uses poor materials in this work, ripped cardboard, coffee grounds, pine needles, to reflect upon economic mobility, labor, and the potential of sculpture as a site of production.

“We deserve to participate in a creative economy.”
—Carmen Argote

“If among a nation of hunters, for example, it usually costs twice the labor to kill a beaver which it does to kill a deer, one beaver should naturally exchange for or be worth two deer.”
—Adam Smith, The Wealth of Nations, Book I, Chapter VII

Pamper Rooms will show new paintings and sculpture from Daniel Long and Alexandra Eastburn. Living and working together on site for six weeks, the two artists have created a series of environments within the gallery. A snake through the walls, alters and stalls. Pamper, a line of sight, co-ocurring horizons move down the hall.

This exhibition includes new video and sculpture and marks the largest showing of Aimee Goguen’s work to date. As part of the installation, Goguen has included over 25 works from artists in her community. Each of these artists have collaborated with Goguen as performers in her video pieces. We hope that this exhibition speaks to the ways that art is always produced in community, that it does not appear discreet out of the void, but rather it is made through exchange, and floats on the stream of the collective unconscious.