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I hypothesized that I needed a language to be employed for my own authenticity and my hypothesis might be proven true by the Codex Borgia.
Dating from the 16th Century, I learned of the Codex Borgia from Adolfo Artega, the leader of Danza Azteca Xochipilli, a dance troupe I’ve had the honor of being part of for the last year. The book is comprised of twenty-eight sections devoted to pictographically describing the Aztec divinatory calendar, idiomatic of a life built around collective ritual as opposed to the commercial exchange we are all accustomed to.
Drawn with graphic contour and bold color, the Codex is, from my hybrid-western perspective, a series of logotypes, or symbols that directly code choreographic movement. In many ways, the book is a template of social structure itself.
It is my experience that color is central to the organizing of all social systems, ancient or contemporary. I’ve always been attracted to color for its multivalent ramifications as sign, graphic notation, scripting, and the possibility of writing itself. Artists such as Lygia Clark, Daniel Buren, Amalia Pica, Matt Mullican or my professor Lari Pittman only affirmed this idea. Still: it always seemed to be my job to either paint a text or write a painting and to not write a story with content.
Another professor of mine, Yvonne Rainer did not narrate but exhumed narrative structures. This was always interesting to me, because mimicry at its core seems to be synonymous with the choreographic movement of bodies, be it for consumerist, political, or ritualistic ends.
My performance at The Box will take my experience as a resident of Pieter Parking Space and talk of my time as a story without content. Using my ACC language, a set of linguistic symbols without phonetic or auditory code, I will paint my essay on the Codex, either proving or disproving my perception that the normative use of language in our culture is a form of the imaginary, which can be displaced by authentic voices, like those that learn from the Codex Borgia to this day.
Location: Pieter Parking Space is located in the parking lot of The Box LA:
Please note there is no on-site parking. Street parking and pay-to-park lots available. The Box LA gallery will be open until 7pm. For more info, please visit: www.theboxla.com
COVID guidelines: for the safety of those of us who are high risk, masks are required at all times, please keep a 6 ft distance from others when drinking unmasked.
Lindsay August-Salazar was born in Los Angeles. She received her B.F.A. from the University of California, Los Angeles, and her Masters of Fine Art from The University of California, Irvine. Her multifaceted artistic practice, informed by a conviction in the power of language to invoke political, psychological, and philosophical change, and growth, is articulated through the creation of Salazar’s Abstract Character Copy lexicon. Through this lexicon and drawing from artistic disciplines, including abstraction, postmodern dance, and typography, a unique, personal form of expression and conceptual exploration of utopian ideas is envisioned.
Salazar’s works have been exhibited at galleries and institutions including Stene Projects, Stockholm; Lowell Ryan Projects, Los Angeles; Bel Ami, Los Angeles; LACA, Los Angeles; Ghebaly Gallery, Los Angeles; The Los Angeles Municipal Art Gallery, Los Angeles; and Fellows for Contemporary Art, Los Angeles. She is the recipient of the Rema Hort Mann Foundation Emerging Artist Grant, the Joan Mitchell Foundation Award, the State of California & The Regents of the University California Grant, and The Claire Trevor School of Arts Graduate Research and Travel Grant. Salazar has been recognized as both a Medici and Sylvia Easton Scholar. Her works have been discussed in publications including E-Flux, The New York Times, Art in America, X-Tra, and Modern Painters.