Mashacare: Home of the Freaks, Misfits, & Weirdos
This Lookbook draws upon the Mashacare SS19 Collection and uses sci-fi narratives to construct an imaginary floating city named after Surazhsky’s Babushka, Masha. Mashacare exists in a post-glacial future that Molly Surazhsky has created and fashioned clothing for, as a way to envision the inhabitants of a matriarchal and post-capitalist reality.
Text contributions by Scott Benzel, Hailey Loman, and Serena Aurora Day Himmelfarb.
Design by Síta Valrún.
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$
LACA Course Reader III
The third and newest iteration of the LACA course reader focuses on marginalized groups left out of the the archive and implementing ethical strategies for archivists.
Ephemera as Evidence
Introductory Notes to Queer Acts
From Human Rights to Feminist Ethics – Radical Empathy in Archives
Reflexive Sociology Paris Workshop
LACA Course Reader II
The second iteration of the LACA course reader with a focus on the spirit of the collector.
How Do You Archive the Sky?
Does Contemporary Art Need Museums Anymore
On the Mood of the Collector in the Digital Age
A Language to Come Japanese photography after the event$
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.$