ony Labat, “Irregular Encounter: Leveling the Field,” installation view. Image courtesy of the artist.
Photo courtesy of Herberger Institute for Design and the Arts
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A pioneer of video installations, Tony Labat has been an important player in the California performance and video scene since the early 1980s. His work often identifies the “outsider,” whether the artist or the immigrant. Having emigrated to the U.S. in the 1960s, he himself has often been caught between the U.S. and Cuba’s severed diplomatic relations, and his work makes frequent commentary on labor, migration, displacement and marginalization.
While researching how to build a pool table in Cuba, Labat discovered a world of underground “billiards” clubs. After a decades-long ban on billiards, communities created unauthorized pool halls in their homes. At one of these Labat met a young man named Tatin, who had come into building pool tables quite accidentally. A local police chief had a few pool tables left over from the 1950’s in the basement of the police station, and he asked Tatin to fix and renovate one table. In exchange for his services, he was given one of the tables. By deconstructing a pool table, Tatin taught himself how to build one from scratch. The police chief then looked “the other way” and let Tatin develop a “pool hall” in his home. The custom-made pool table he built for Labat was milled from one tree, possibly a type of walnut tree, from which the cue sticks were also made, while a saddle maker constructed the pockets.
When the table premiered at the 2012 Havana Biennial, “Irregular Encounter: Leveling the Field” became the first “ sanctioned” Cuban pool hall in 50 years, by the way of art. Other than the story and fabrication, perhaps the most important aspect of the table is its unusual shape: the island of Cuba itself. The new configuration forces each player into an equal place as they try to figure out how the balls respond to curved,rather than straight rails. Labat’s conceptual take on the traditional billiards table mirrors the current day politics – a new era is beginning where the old rules no longer apply.
“Irregular Encounter: Leveling the Field” is the second project in the new ASU Art Museum series Encounter, where artists re-imagine and re-contextualize the museum collection to address larger issues relating to the current social and cultural climate of Arizona and the world at large. For Encounter, Labat will choose a selection of the museum’s seminal contemporary Cuban collection that will be displayed in the installation of “Irregular Encounter: Leveling the Field.”
For the second project in “Love Me Two Times,” titled “Day Labor: Mapping the Outside,” Labat set up a surveillance system outside the window of his studio and, during the course of six months, recorded the activities of the laborers while also recording himself producing artwork in his studio. The cameras were camouflaged in three exterior flowerpots aimed at Cesar Chavez Street in San Francisco’s Mission district, a location known as the place to pick up day laborers. This multi-channel video installation also relates to famed conceptual artist Bruce Nauman and what he describes as “dead time” in the studio. Here Labat refers to the day labors waiting to be offered a job and poses the question, “What is the difference between informal economy and the art economy?” Both are large unregulated markets with implications in the global economy.
Labat was born in Havana, Cuba, in 1951, and emigrated to the United States in 1966. He received both a B.F.A. and an M.F.A. from the San Francisco Art Institute. His videos and installations have been included at the The Museum of Modern Art, New York; San Francisco Museum of Modern Art; The Hague; Australian Centre for Photography, Sydney; Museum of Contemporary Art, Los Angeles; The Institute of Contemporary Art, Boston; Museo de Arte de Ponce, Puerto Rico; The Kitchen, New York; Museo de Arte, Bogota, Colombia; Centro Arte Contemporaneo Wifredo Lam, Havana; P.S.1 Contemporary Art Center, Long Island City, N.Y.; J. Paul Getty Museum, Los Angeles; and the Seville Biennale, Spain, among others. His videos are part of the permanent collections of numerous institutions, including Centre Georges Pompidou, Paris; Kunstmuseum, Bern; Stedelijk Museum, Amsterdam; and the Long Beach Museum of Art, California. He lives in San Francisco.
Join the artist at the ASU Art Museum Spring 2016 Season Opening Reception, on Friday, Jan. 29, 2016 at the ASU Art Museum and ASU Art Museum Brickyard.
Members and Alumni Preview 5:30–6:30 p.m.
Public Reception 6:30–8:30 p.m.
Sponsored by Macayo’s Mexican Kitchen and the ASU Art Museum Creative Impact Board.
This exhibition is supported by the Helme Prinzen Endowment.
ABOUT THE ASU ART MUSEUM
The ASU Art Museum, named “the single most impressive venue for contemporary art in Arizona” by Art in America magazine, is part of the Herberger Institute for Design and the Arts at Arizona State University.
To learn more about the museum, call 480.965.2787, or visit asuartmuseum.asu.edu.
Location/Parking: The museum has three locations across the metro Phoenix area: the ASU Art Museum at 10th Street and Mill Avenue, on ASU’s Tempe campus; the ASU Art Museum Brickyard at 7th Street and Mill Avenue, in downtown Tempe; and the ASU Art Museum International Artist Residency Program Project Space at Combine Studios, in downtown Phoenix. Designated parking is available at all three locations.
Admission: Free at all three locations.
Hours: The ASU Art Museum and ASU Art Museum Brickyard are open 11 a.m.–8 p.m. on Tuesdays (during the academic year), 11 a.m.–5 p.m. Wednesday through Saturday. The museum is closed on Sundays and Mondays. The ASU Art Museum International Artist Residency Program Project Space in downtown Phoenix at Combine Studios is open by appointment.
Julio Cesar Morales
ASU Art Museum