IT WAS VERY SAINT LAURENT AS SEEN THROUGH A LAUREL CANYON HAZE
It Was Very Saint Laurent As Seen Through A Laurel Canyon Haze is a lecture-performance whose starting point, backbone, subtext and pretext is the Los Angeles River and the images it carries with it. Its aim is to explore different L.A. ecologies — not necessarily Banham’s — and the layers of narration they create within our lives and the cultural objects that surround us. From the dried-up Owen Lake to West Ocean Boulevard, from gender to crime, from design to video game, It Was Very Saint Laurent… explores the no-nonsense laboratory L.A. has become for the transactional realities of our time — architecture, homelessness, well-being, medication, sport, violence, self-sufficiency and green living, light and fiction, desert and attention, horrid roads and stunning outlooks, fame and the Tarpeian. It Was Very Saint Laurent… uses the L.A. River like a stream of consciousness — driving through the city to only catch glimpses of the water from one freeway to another. Low and high, bad or good, it will appropriately stage the ghost image of the River and aerial views of the city; clips from 24, Gerry, Flashforward, Mad Men, The Living End, Crash, Heat, Drive, Them!, A Bigger Splash, Mulholland Drive, The Shield, Southland, Terminator 2, Far From Heaven, Chinatown, To Live and Die in L.A., Inland Empire, L.A. Zombie, Zabriskie Point, Grease, Somewhere, hip hop and skateboard videos, family movies and screenshots of Grand Theft Auto: San Andreas; as well as readings from Joan Didion’s Play It As It Lays, Michael Connelly’s The Narrows, Reyner Banham’s America Deserta, Romain Gary’s White Dog, Christopher Isherwood’s A Single Man or James Frey’s Bright Shiny Morning.