An effort to make LACA internal documents public. LACA Books include:
Blueprint drawings of LACA
Internal Roles Chart
Deed of Gift
Community Reading Group Bookmark
LACA Jingle Score
Emergency Contact List
Oral History Mission
Oral History Consent Form
Oral History Interviewer/Interviewee trust chart
Hoard Inagural Essay
Personal Archives 01
Susanna Battin – How to View a Landfill
How to View a Landfill captures a landfill’s scenic beauty through divergent lenses: institutionalized scenic beauty standards and drawings by young children. The edition stands as the latest project in a series of work, in which Battin traces the visual language of landscape appreciation through history and spatial reimaginings.$
Kim Zumpfe – Astral Projections
Astral Projections contends with the potentials, failures and qualities of grief that are produced through the trauma of the everyday. The project considers ways through ways that mundane states of grief becomes coded, felt out, discovered, and moved through. The publication contains a series of cell phone photographs and emails used to communicate passing moments and writing by the artist. Astral projections is printed by risograph and xerography, produced in conjunction with an art exhibition.$
Prima Sakuntabhai – L.E.H.M.
Published in conjunction with a performative lecture, L.E.H.M. (Le Corbusier Entering Hadrian’s Mausoleum, 1965).
A narrator with an ambiguous accent and gender identity weaves together disparate facts in a performative lecture. The narrator uses three overhead projectors and collages of various architectural elements on transparency to illustrate the story. Central subjects of the presentation are two cylindrical structures built two thousand years and six hundred miles apart; Emperor Hadrian’s Mausoleum in Rome (135 AD) and Le Corbusier’s Obus Plans for Algiers (1933-1942). Jorge Luis Borges states in “The Circular Ruins” that the circle is a site for a man to procreate another man. Through the cipher of architecture the narrator draws a through-line between classical and modernist thought as material evidence of westward expansion and colonial conquest. The narrative is framed by the death and internment of the father of modernism as well as the plans for his final project, which was designed for Algeria, the final resting point of Hadrian’s conquest of the East.
Mirrors, which typically produce a crisp static image for the overhead projectors are used to duplicate and distort the projections. The narrator introduces hand-held external mirrors to embody a reversal of the reflected images. Projected light moves across walls, ceiling, and floor and occasionally breaks out of the bounds of the architecture to the street level. The narrator holds the act of reflection in their hands, both in the physical use of mirrors and in the allegorical conveyance of ideas. This challenges the legacy of the West seeing itself through “the other” and questions who can claim ownership and inheritance of classical and modernist thought.
Prima Jalichandra-Sakuntabhai lives and works in Los Angeles.
Edition of 100.$
Lúcia Prancha – Bread Story
Bread Story: Some research for an oncoming film, 2019
Based on the script “The Bread-King Learns to Bake Bread” by Bertolt Brecht (1898–1956) and Prancha’s experiences with LA baker Roxana Jullapat. The concurrent narratives of Brecht and Jullapat create the structure for the book and the film.
The book consolidates research into ideas of American labor and production from 1941 to today and functions as an unconventional script for the film in progress. The series of printed materials uses LACA’s Risograph printing technique to mass produce an iteration of the original book in order to disseminate information and participate in a level of production associated with propaganda and consumerism.
Edition of 25+5 A.P.$