她的舌尖：Xandra Ibarra“裸体笑，”卡西尔“的力量”，“Shirin Neshat”拥有“

这个项目花了place in various locations around The Broad and featured a looped screening of a work from the Broad collection,Shirin Neshat's 13-minute video,拥有，2001年, and two live performances—Xandra Ibarra's裸体笑andCassils'The Powers That Be. Each of the three works centers on a figure isolated in a crowd; each functions as an intervention, but how one experiences that intervention is left open to the viewer. This marks Ibarra's first performance in Los Angeles, and the national premiere of Cassils’ The Powers That Be.

Performance: Xandra Ibarra,裸体笑，2014年

Drawing from John Currin's paintingLaughing Nude1998年，奥克兰的Xandra Ibarra的这种表现与种族的皮肤和斯凯恩一起参与。裸体并封装在尼龙皮下茧中，Ibarra检查了种族化的受试者不仅仅是一个人自己的皮肤，而且还有一个人自己的纠缠和结（绞纱）与白度和白人女性。来自Frantz Fanon的Black Skin, White Masks，刺激溢出器的肉体理论，和w.e.b.Dubois的双重意识，种族化的科目不断地处理皮肤，内部性和存在的矛盾。通过用“白人女士装备”（金发，芭蕾舞鞋，毛皮，珍珠和假乳房）填充这个裸体茧，Ibarra可视化并体现了种族的斯凯恩，谈判起重，伪造和人格的同时欢乐和痛苦。

Xandra Ibarra是一位以奥克兰的表演艺术家，来自El Paso / Juarez Border，他在La Chica Boom的别名下执行和工作。她采用双曲化模式的种族化和性方式来测试她自己的身体和殖民主义，强制性白度和墨西哥人之间的界限。Ibarra的实践将视频，摄影和物体集成到性能，性行为和滑稽。在整个她的表现中，都有一个主要关注的是，在适当和不正当的民族，性别和奇迹课程之间存在边界，在退化/贫困和壮观/喜悦之间摇摆。

性能：卡西尔，2015年的权力

In this powerful piece, Cassils, who the赫芬顿邮报called “one of ten transgender artists who are changing the landscape of contemporary art,” collaborates with fight choreographer Mark Steger to stage a brutal two person fight. Lit by car headlights and performed in the depths of The Broad’s parking garage, Cassils is the sole figure, left to spar with an invisible force. Amplified by surrounding car stereos is a score designed by Kadet Kuhne comprised of static noise and samples found on the radio. Broadcasting issues reflective of today's sociopolitical climate, both proximate and distant, The Powers That Be explores the radical unrepresentability of certain forms of trauma and violence. This piece is designed to be viewed and recorded by the audience using mobile phones. Cassils addresses mediated images of violence by calling into question the roles of the witness and the aggressor.

Cassils has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Featuring a series of bodies transformed by strict physical training regimes, Cassils’ artworks offer shared experiences for contemplating histories of violence, representation, struggle, and survival, often juxtaposing the immediacy, urgency, and ephemerality of live performance against constructed acts for camera in order to challenge the “documentarian truth factor” of images. Cassils performs transgender, not as a crossing from one sex to another, but rather as a continual process of becoming, a form of embodiment, and forges a series of powerfully trained bodies for different performative purposes.

The Powers That Be is supported by:

"Foundation for Contemporary Arts Emergency Grant"

Canada Council on the Arts

Screening: Shirin Neshat,拥有，2001年

Iranian visual artist Shirin Neshat’s film Possessed, 2001, starring Shohreh Aghdashloo and with a soundtrack by Sussan Deyhim, presents a woman without chador, the traditional Islamic veil, madly roaming the streets of an Iranian city. She is completely ignored until she takes a platform, where her private suffering becomes public and political. The gathering crowd debates her mania and subsequently assumes the traits of her madness, while she slips away unnoticed.

Shirin Neshat’s photographs and videos address individual freedoms under attack from or repressed by social ideologies. Throughout most of Neshat’s career, she has been exiled from Iran, and is an outside observer of Islamic law’s increasing effects on the country’s women and daily life. Though Neshat’s artwork addresses the social, political, and psychological dimensions of women's experience in contemporary Islamic societies, she extends beyond identity politics, and confronts issues with universal impact, such as sexual desire, personal autonomy, and social subjugation.