Wake up in the morning. Look at the paper. Laugh? Is the newest terrorist red warning alert using the same gov’t trumpet as the “Reefer Madness” campaign? Is this kin to the horrible theater of the domestic Japanese “threat” of the 1940’s? Is fear being marshaled as a herding technique? Is this incredible or what? Or, jeez, I should jump up and look through my junk drawer for the duct tape to seal off my doors and windows! Do I need a gas mask? Should I have a lot of canned goods filling my closet? Move to Costa Rica?
I don’t know. The installation grapples with this laugh or fear dilemma and its even scarier blur. The omnipresent image of the uniformed gov’t
authority, once reserved for the “undocumented,” is now asking everyone for their papers, everywhere. A tangible and new reality. Or theater? On the other screen, the unidentified objects, zooming around through a goofy colored atmosphere threaten us from a Godzilla-texture make-believe world.
What credence should I give this "B" movie SCI-FI fantasy? Maybe this is the real avenue of attack. And what’s the Border Patrol guy thinking?
Louis Hock's films, video tapes, and media installations have been exhibited in one person shows at numerous national and international art institutions including the Museum of Modern Art in New York, the Whitney Museum of American Art, and the San Francisco Museum of Modern Art. Along with various collaborators, including Elizabeth Sisco and David Avalos, Hock has produced eight public art media events including "Welcome to America's Finest Tourist Plantation" (1988) and "Arte Reembolso / Art Rebate" (1993). The later has been recently transformed into two media installations, one for the Puerto Rico Triennial (2004-5) and the other for the "Work Ethic" traveling exhibition that concludes at the Wexner Center in Ohio (2004). Recent shows include installations at the Ex Teresa Arte Actual (2001) and La Panaderia in Mexico City (2002) and photographs at The International Center of Photography's traveling exhibition, "Only Skin Deep" (2004). Hock lives, works, and teaches in San Diego, California.
SOUND DESIGNER
Peter Otto studied violoncello from an early age and concluded his musical training with a Master's Degree in composition from the California Institute of the Arts. Professional appointments include faculty and research positions at Cal Arts, Tempo Reale in Florence, SUNY at Buffalo and his current appointment at UCSD Music in La Jolla, where he is Director of Music Technology, a founding member of the Interdisciplinary Computing and the Arts Major (ICAM), and a researcher at CRCA/CalIT2. Recent collaborations with composers have included software development for Morton Subotnick and Roger Reynolds, with performances at Carnegie Hall, the Library of Congress, Julliard and the Ars Electronica Festival in Linz, and numerous CD and DVD releases of works by both composers.
lhock@ucsd.edu
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