Skip to main content

Carole Kim's BURROW



CAROLE KIM site-specific performance-based installation
THERESA WONG voice, cello
PHIL CURTIS electronics
LYN HORTON drawings

You are invited to the conclusion of a month-long residency at Lehrer Architects in Silverlake.  
These performances will be both indoors and outdoors so please come dressed in layers.

DECEMBER 3+4 @ 7:30 PM

2140 Hyperion Avenue
Los Angeles, CA  90027-4708

$10 suggested voluntary donation


Carole Kim is an interdisciplinary artist with a focus on live video performance and performance-based video installation. She explores video for its most tactile, expressive and responsive potential as a live medium. She seeks an integration of media where moving image, sound, dance and space are on equal planes engaging in a dynamic reciprocating and mutually supportive dialogue. Kim's installations are hybrid spaces in which the illusory and actual (i.e. mediated and live) merge together in an "other worldly" environment. Her work has been supported by the Irvine Foundation, National Endowment for the Arts, Durfee Foundation, REDCAT, University of California Institute for Research in the Arts (UCIRA), The Getty Center, The Society for the Activation of Social Space through Art and Sound (SASSAS), Newtown,, California Institute of the Arts, and The Center for Experiments in Art, Information, and Technology.

Theresa Wong is a cellist, vocalist, composer and improviser whose training in classical music and design fused during a fellowship at Fabrica Center in Treviso, Italy where she recognized the possibility of transformation in performance through improvisation and the synergy of multiple disciplines. Her current projects include: O Sleep, an improvised opera which explores the conundrum of sleep and dream life and The Unlearning, a collection of songs for cello, violin and two voices inspired by Goya's Disasters of War etchings to be released on Tzadik Records in September 2011. Wong has collaborated with such artists as Fred Frith, Luciano Chessa, Joelle Leandre, ROVA Saxophone Quartet, Carla Kihlstedt, Ellen Fullman and dance pioneer Anna Halprin. Her performances have been included at the Fondation Cartier in Paris, Yerba Buena Center for the Arts in San Francisco, The Stone in New York City, Festival Internacional de Puebla, Mexico, Unlimited 21 Festival in Wels, Austria and Radio France broadcast, A L'improviste.   

Phil Curtis works at the intersection of music composition, sound design, and performance. Whether improvising with musicians, working in dance, opera or theater, or creating interactive music-visual instruments in software, he seeks to make hybrid forms that defy categorization. His work has been featured in a variety of venues for new and experimental art and music. Performances of his music have been given by the Nieuw Ensemble, the New Century Players, and the New York New Music Ensemble, and he has performed laptop electronics with Anthony Braxton, Thomas Buckner, Anthony Davis, Vinny Golia, Earl Howard, Wadada Leo Smith, the Loos Ensemble, and the New York City Opera. He is a member of the soNu ensemble, and appears on soNu's Sounds from the Source CD (Nine Winds Records, 2004), on Gustavo Aguilar'sUnsettled on an Old Sense of Place (Henceforth Records, 2007), as well as his own Slutskya (Acoustic Levitation, 2002). Current projects include musical sound design for Anne LeBaron's hyperopera, Crescent City, to be premiered in Los Angeles in April 2012 by the experimental music-theatre company The Industry.  

Shel Wagner Rasch is a Contact Improv dancer, performer, producer, and teacher.  Her Contact Improv scores and choreographic works have been well received both locally and internationally.  She teaches at UCLA and is a recipient of the Lester Horton Award for Excellence in Choreography.  Shel has a private practice as a Somatic Experiencing Practitioner, Alexander Technique teacher and Pilates instructor and she collaborates with her husband, animator Justin Rasch, making stop motion animated short films and raising their three continual motion kids.

Born in Washington, DC, in 1950, Lyn Horton graduated from California Institute of the Arts with a BFA in 1971 and an MFA in 1974. She has studied with the late Douglas Huebler, the late Paul Brach, the late George Miller, Gerald Ferguson, Stephan von Huene and was Executive Assistant to Edwin Schlossberg for ten years. She has exhibited her work in California, New York and Washington, DC. Since 1970, her art has been in numerous solo exhibits, most recently at the Oresman Gallery of Smith College in Northampton, MA. Her work is in The Sol LeWitt Collection and others throughout the country. She is represented by CBS Art Collections. Horton is also a writer. Her writing focuses on creative improvised music and some mainstream jazz. Her writing has been published in Downbeat and regularly finds itself at and on her blog, The Paradigm of Beauty. Her work is archived on and  


Popular posts from this blog

The Art Salon Presentation

These images and words were delivered at a meeting of The Art Salon in Cummington, MA on September 21, 2018.

As you listen to the words, scroll down to see the images.  The images represent one for each of the last 20 years.

Time Trial

A live Tanglewood performance is on the radio.

It was my intention to be outside, sitting in the chair by the table on the terrace while the music was on. I have pictured myself there all summer.

The minute I went out to do this, my neighbor started up his mower. He is probably 40, divorced and has a penchant for machines, which has been transferred to his son, who, at 8 am this morning, revved up his ATV to travel around his yard for a while. That stopped quickly much to my surprise. It was difficult to meditate with noise pollution, which accompanies living across the street from that neighbor and the other ones, too.

In my email Inbox, every morning is a "feel good" newsletter. Most of the time, the subject matter is timely. Today, it had to do with doing something that pleases me.

So, the aforementioned placement of myself popped into my mind.

I tailored my day to make it happen.

At 6 am, the cat came into the bedroom asking to be fed. Which I did do. Afterward, I got b…

As Seen on ARTEIDOLIA: Peter Pincus's Finesse

Peter Pincus’s FinesseLyn Horton
January 2019

Artists live in a tight world of history and influence. The medium an artist uses often points to possible penchants for attractive pods of that network. How an artist assimilates those areas of interest is complicated and eventually translates into what the artist ends up doing in both apparent and undetectable ways.
Peter Pincus is a contemporary ceramic artist. He has in his own practice evolved a means to unite history and influence to create his signature vision. Although he speaks of ceramics as being “too material specific to be classified as fine art,” he has produced an array of objects that walk a fine line of defying that statement.
As a teacher, husband and father, he and his wife have bonded to establish a vibrant working environment. Their studio is organized and stocked plentifully with materials exemplified by shelf after shelf after shelf of color-infused liquid slip clay. Twenty hours of studio time per week unfolds not o…