|| Raul Paulino Baltazar: künstlerische botanica || GRAND OPENING RECEPTION: November 7th, 7 PM |

“No spiritual relation to the past ancestry, no spiritual relation to the ancestry in the shape of the future. So whatever this disease of aggression and violence and whatever this disease mentality is, in this life system, is now. It’s eating up the spirit of the diseased and they don’t even know it’s happening. They have no relationship to being. They only function and react as humans. They have no relationship to being, being always is. This back to being, being, human being that really means something. But we live in a reality now in a time where I would tell anyone, protect your spirit, because you’re in the place where spirits get eaten.” – Interview with John Trudell

BOTANICA HOURS: 1 - 8 PM | November 1 - 13, 2015


|| Delia Pérez-Salinas Tijerina: Pasatiempos || OPENING RECEPTION: September 26th, 6 - 9 PM |

                                                                                Men talk of killing time, while time quietly kills them – Some popular saying

We smell, we hear, we see, we speak, we fuck; we: sniffles, we: earwax, we: tears, we: spits, we: pee and cum and shit. From senses to actions to residues. That’s life.

Our bodies have nine holes connecting in and out, translating emotions into articulated sounds, transforming frustration into tears, turning desires into fluids. Part of our human nature consists in these exchanges between thoughts, feelings and fears, and tears, turds and spittle. The rest is time, time constituting “our lives.”

As we have bodies, we have tears, turds and spittle. But we also have a soul, so there are emotions, frustrations and desires. We are the space in between both, connected thru our nine holes. We are not only corrupting matter, we are not disembodied souls. We are no ghosts.

We are always scared of all those things: ghosts, specters, bats and darkness, cause ghosts, specters, bats and darkness are, when we are alone, heavily associated to the night. And night, we all know it, is a metaphor of death. We Are Dying, We Are Dying Right Now. We Are Dying Every Second We Remain Alive. And there’s nothing to do about it. Except resist, get distracted and try to forget.

We resist all the time, like a plague close to disappear. Like pigeons, nibbling whatever the floor has to offer, crapping on everything else, nesting wherever and singing forever all this stupid– turning–sinister anthems whether is noon or deep in the night.

Resistance is defined as “the refusal to accept or comply with something; the attempt to prevent something by action or argument.” That’s why we said life is resistance, preventing death and opposing that Heideggerean notion of “being toward death” to, better, embrace Émmanuel Lévinas’ conception of “being against death.” We argumentally stand for life, and our arguments generate actions to extend our presence in time.

Life is will. Even when we try to forget about our own live. When we feel tired and overwhelmed, when we are only weary and disgusted. When we decide to stop the world inside ourselves by turning on the screen and watch The Soup, when we try to resolve a sudoku, when we fill the white squares of a crossword, when we try to complete this Second World War bomber model, when we cook that sophisticated casserole de lapin à la moutarde, we are only desperately trying to forget about the fact that we are still alive, to forget about the heavy structures and the too many drawers, crates, and caskets that conform the living forms we are.

We have pastimes to cope with our life until it’s over.

And then is the night. And it’s wonderful.

Among so many pastimes in the world, we presume you have this one of going to art shows. So we immensely encourage you to attend this beautiful one by Delia Pérez Salinas. We have no words enough to recommend you this beautiful project, created and crafted for the site. Please join us to past some time together, to forget that we forgot that we are all going to die after a life plenty of beautiful images and warm moments.

Please don’t bring flowers.

Yours, Bruce Wayne

|| HOLA & Selecto - Planta Baja Present Collaborative Artworks by the Students of HOLA || OPENING RECEPTION: September 11th, 5 - 7 PM |

HOLA (Heart of Los Angeles) and Selecto Planta Baja have collaborated to present an installation by HOLA students. 

Working with Los Angeles based artists, Carribean Fragoza, Maggie Lomeli, Alice Clements, Patricia Valencia, and Vincent Ramos, the students have created a distinct body of work representative of their experiences as young people living within the urban environment of Los Angeles.

Please join us to support their efforts and celebrate their hard work.

|| Rico Newtoñ at Selecto || Selecto, don't f*** me, Tony & much more. | VIDEOS |


– Rico Newtoñ at Selecto, opening sequence – The cast of Selecto arrives by bus and boatload.

– Rico Newtoñ at Selecto, the author – Just as we are about to meet the Colombians at a motel, an author drops by to promote her book.

– Rico Newtoñ at Selecto, surprise – Mama...she don't have to sew in no factory.

– Rico Newtoñ at Selecto, a haircut and a close shave – Get your clothes on and meet me in front of Lopez Motors in 45 minutes.

– Rico Newtoñ at Selecto, Manny – I always know one day I'm coming here, United States 

– Rico Newtoñ at Selecto, don't f*** me, Tony – The last time you gonna see a bad guy like this again, let me tell you. 

|| Rico Newtoñ: The last time you gonna see a bad guy like this again, let me tell you. || August 15 - August 27 | PERFORMANCE: August 14h, 6 - 9 pm |

All migrants are rapists and drug dealers. All of them want to take over the world and all the things it include. That’s the reason you love them, as you ceased to have any ambition and repressed all your hate and anger since your yoga teacher told you how hate and anger is bad for your chakra. Migrants have no chakras, so they are the future. 

You stay in your non-migrant situation as you stay in the park: throwing crumbles to pigeons and squirrels. Pigeons and squirrels are the future, and you’re running out of crumbles. You don’t understand all that world: pigeons, squirrels, migrants… They look scary under certain light, I mean, when there’s no sunlight and they don’t look funny and picturesque anymore.

Yes, you love all these stories of migrants, because in these stories they are all bad and exotic. You buy tickets that fuel the Hollywood industry and make all those white yuppies feel the most amazing smartasses ever born. 

Al Pacino is a New Yorker from a Sicilian family arrived from Corleone (what a delicious coincidence, isn’t it?) playing a Cuban Anti-Castro refugee called Tony Montana (who the hell has such a name in Cuba?) who build an empire of coke and murder to, sorry to tell you, get killed by his enemies (mostly other migrants with weird afros and collars) in a delicious last scene of mayhem and slaughter in Scarface, the leitmotiv of this show that we are kindly inviting you to attend and enjoy at Selecto.

I know you’re not a rapist nor a drug dealer. And I know that because migrants don’t go to art shows. Well, this is about an art show, one by amazing LA icon Rico Newtoñ, a guy with several names and fake ID’s. A veteran migrant from Hell, fascinated with all this things that go from dick and pussy to cut ears to, now, this Hollywood migrant who’s a killer and has a name that migrants only have in Hollywood films. Rico Newtoñ has no chakras at all.

Listen, spiritual beings, please let me tell you something to add injury to insult: the problem with your karmatic balance is that you refuse to incorporate alterity in your life. Yes, al-te-ri-ty, that’s to say, this radical otherness that breaks the possibility for self-identification and collective identities. Alterity breaks the notions of in and out, of owning and knowing, of being and refuse, creating a space of permanent indecidability between your own ego and this “it” constituted by all those other “others” around you. All those “others” deep inside your repressed fantasies of violence and ambition. All those others you invent to make your life exciting, as if you were a brave survivor in a world populated of zombies, monsters, Austrian-on-steroids androids from the future, pigeons and migrants from all those semi-countries down there.

Critical re-enactments have been used for decades as a valuable tool to produce spaces of cultural transaction and power-dynamics deconstruction, where the oppressor and the oppressed can clearly see their own gestures and positions on stage, creating transitory communities and fraternities structured not by sympathy but, better, by the evidence of a shared abjection.

The psychological space of our racist fantasies has to be, then, critically put in evidence, has to be dismantled, has to be translated into versions written in foreign and unknown languages with several subtitles and captions powerfully structured to break our security, our certainty. We need to break our understanding, we need some isolation, we have to feel momentarily estranged, at least until everything becomes a mistery of light and shadows, of blood and guts, and then there’s a little chance for communion. Otherwise, we’re never going to stop being assholes.

We are absolutely pleased to invite you to join us at Selecto, this Friday, August 14th, for The Last Time You Gonna See a Bad Guy Like This Again, Let Me Tell You, a fabulous three-hour performance by Rico Newtoñ, starting at 6:00 pm sharp at our famous underground, multi-migrant, exotic venue on 6th and Bonnie Brae, a former ghetto now in frank “recuperation.”

Don’t miss this show, please risk your life and come with us. You’re gonna be fine.

|| Mónica Rodríguez: Donde estalló la bomba || July 11 - July 25 | OPENING RECEPTION: July 10th, 6 - 9 pm |


(…) Yo temprano me levanto para estar bien enterado,
y para el que no lo crea traigo en mente tu formato
Yo te lo digo: ¡Bomba, camará! 
Richie Ray & Bobby Cruz

Dearest Selecto’s,

I’m writing this invitation with no desire to write a line, not because of the great project that Mónica Rodríguez will show at Selecto this Friday, July 10th, but for the general situation under which I am writing this message. On the other hand, probably, the situation I’m talking about is just another manifestation of the hidden forces that moved Mónica to produce an important part of her work, in opposition to the expansion of those forces. So, if I talk about here and now, somehow I could be talking as well about there and then. Please, let me tell you what I’m talking about.

During the last couple of weeks, a series of explosions have had occurred in Bogotá, Colombia, where I am now. Those explosions created panic among the citizens, and also a big amount of false information, confusion, and media-political opportunism. The government stated that the bombs were put by the Maoist guerrilla of the ELN (National Liberation Army), after several attempts from the radical right wing party from Alvaro Uribe Vélez, former president of the country, to incriminate the FARC, as a way to force the interruption of the peace talks between the current government and the illegal organization (I mean, the FARC, not the government, equally illegal.)

So, today, police proceeded to arrest 14 people, all of them members of human rights, social justice, and gender equality organizations. The police argued they have evidence to incriminate these 14 individuals as the organizers of the terrorist acts. Nevertheless, it seems very unlikely that any of them are related to the attacks.

Some years ago, close to the presidential election at the end of Uribe’s first term, members of the National Army orchestrated a series of bomb attacks to create panic among the population, showing the explosions on local media as a FARC escalate in the main cities of the country. Other several acts were executed by state forces in conjunction with paramilitary groups, including illegal surveillance and spying, assassinations, massacres, torture, and a wide spectrum of practices that we must firmly define, regardless of the country, as state terrorism.

In Colombia, there’s a long history of activists from social organizations that have been harassed, arrested, taken to tribunal, sentenced and submitted to public scorn by different instances of the government. After corrupted trials, bans, incarceration, threats, torture, illegal search warrants, raids and confiscations, the ones who remain safe and sound got usually killed, and their crimes are never resolved.

Years, and sometimes decades later, after exhaustive independent archive investigation, archeological research, interviews and leaked files, the truth emerges, but usually, when it happens is too late to force legal action against the deciders of the crimes. Nevertheless, the truth that comes out of the archives is the only resource available to understand the national history in order to create, at least, some sort of collective memory and a chance to mourn the dead.

Without archive excavation, truth is impossible, and without truth is impossible to stand against tyranny. A tyranny never restricted to the confines of a local power.

So, tired and angry, I have the pleasure to invite you to Donde estalló la bomba, a beautiful project by Puerto Rican artist Mónica Rodríguez, consisting on the exploration and reenactment of police archives from October 30, 1950, “when a series of coordinated uprisings erupted throughout the Island of Puerto Rico. Led by the president of the Puerto Rican Nationalist Party, Pedro Albizu Campos, the Nationalist Revolt was an armed insurrection against the establishment of Puerto Rico as a Commonwealth of the United States and a call for the international recognition of Puerto Rico as a sovereign state. Despite the efforts of the Nationalist, the uprisings were suppressed by U.S. military forces resulting in the majority of its members to be imprisoned or killed.”

Please don’t miss this chance to come and share with us the shrapnel of this bomba, blowing once and again on perpetuity as an eternal demand of justice, truth and sovereignty.


Mónica Rodríguez, Donde estalló la bomba – Opening reception: Friday, July 10th, 6–9 pm


|| Hugo Hopping & Tyler Rowland: Doublejim || CLOSING RECEPTION: July 3rd, 6 - 9 pm | ARTIST TALK: Agoraphobia / Tyler Rowland: 7:15 pm | PRINT RELEASE: Este Putazo / Hugo Hopping 8:15 pm |


Tyler will present a new lecture about his work centering around the idea of agoraphobia -- "a fear of the market." Vegetable or fruit, bull or bear, meat or seafood, stock or farmer's, black or free, art or fashion, media or futures ... a market is a physical and ephemeral gathering place to buy and sell goods and services (legally and illegally) when the economy is either up or down. It is a measurement < = > a tool to set the current going rate of any commodity or activity ~~~~ constantly fluctuating ~~~~ but supposedly always based on the social forces of supply and demand.

Print Release: Este Putazo / Hugo Hopping 

In keeping up with the Joneses, Selecto will be presenting and releasing a limited edition print by Hugo Hopping. This silk-screen print has been specially made as part of an effort to steer conversations regarding art, language, place, market and interpretation. As a self-standing artwork, the print is an extension and translation of the artwork currently in the show.

|| Hugo Hopping & Tyler Rowland: Doublejim || June 21 - July 4 | SOFT OPENING: June 20th, 6 - 9 pm | ARTIST TALK: July 3rd, 7:15 pm |

Selecto Planta Baja brings together for the first time in Los Angeles the artists Hugo Hopping and Tyler Rowland. We have invited each artist to exhibit two works of art that feature a "James" in their artworks. And which capture, subtly, humor, or by their subject matter, construct irony through a careful consideration of voids and art histories. 

Hugo Hopping's "Whatever Happened to Roy James?" is a series of diptych paintings that through sloganeering or payoffs reflect upon the humor of everyday speech against the rules of painting and therefore the voids that the practice entails. This conceptual painting series has been shown mainly in France and Selecto brings it back to its homeland for the first time.

Tyler Rowland's "The Birth of James Lee Byars" is both an inversion of the imagination and update of the work by the late James Lee. This costume and tailored suit, a "tuxedo" aims to construct a wider reading of the work of James Lee Byars and rescue much of the irony in his work through the practice of updating and re-contextualizing conceptualisms in art. 

Selecto proudly invites you to enjoy the work of these two American artists and hopes to see you at our closing opening party on July 3rd, 2015. Of course, the exhibition will remain open from June 20th to July 4th for your viewing pleasure.

Hugo Hopping is an L.A. artist currently working in Copenhagen, Denmark. Tyler Rowland lives and work in New York.

Mr. Rowland will be conducting a series of performances and artistic actions at Selecto from July 2nd to July 4th. Please contact Selecto for more information on these events. Wherever possible, we will send out information about a specific change in programing or new arrangement. 

Selecto-Planta Baja
1816 W 6th Street
Los Angeles, CA 90057


|| Víctor Albarracín Llanos: *Swen. || May 30 - June 6 | OPENING RECEPTION: May 29th, 6 - 9 pm | KARAOKE - FAREWELL PARTY: June 5th, 9pm |

Dear Amigos,

This message has a tone slightly different than others previously sent to this list of contacts of Selecto–Planta Baja. What is different in this one is that I’m speaking in the first person of the singular, to tell you something not only about a show made by an artist, an artist invited by this small art space to produce a show, but more about the guy who writes the invitations you usually receive from Selecto, a guy named Víctor Albarracín Llanos, who, by chance, is the artist invited to have a show at this small art space, Selecto, where he usually writes the invitations to the events presented at the venue.  

Excuse me for this confusing introduction, it’s due to the confusion between the artist, the promoter and the institution that organizes this show. What I’m trying to say is that, at certain point, when you start using different voices and, suddenly, all of them collide together when there’s a cumbersome situation that makes you reveal the apparatus behind your supposedly transparent voice-off, then the transparency becomes cacophony, and the eloquence is transformed in hesitation.

I have to say that, yes, my trembling voice is right now possessed by distorsion, so my words are confusing, since I don’t know what to write about this show in order to convince you to go to this place where I probably convinced some of you to go before. 

On the other hand, believe me, I’m sad. I’m sad because I’m leaving this place that was home and jungle for me during the past two years. As an artist, I have been thinking about the sadness to leave, and that’s something that I started exploring right after I arrived to Los Angeles. So it’s kinda curious that I arrived with the feeling to be leaving, but now that I’m leaving I don’t feel like I’m arriving. Anyway, I’m sad to leave, and I’m mad to leave too. So this anger won’t let me say goodbye in a beautiful way, as I’m supposed to do it as an artist does.

But listen, listen, listen. Listen to me, please: I’m having this show tonight. It’s Friday, May 29th, 2015. In ten days I won’t be here anymore. I’m making this show about swans, about singing about swans, about leaving and singing before is over, as swans do. I’m making this show about having several voices, all of them out of tune, and their dissonance is looking for a bit of beauty without a chance to grasp even a crumble.

I’ve just learned a word: rigmarole. I feel this farewell as a rigmarole of things that I’m trying to put together here for you without a little room to do it. So, knowing that I will not be able to convince you to come, I only can say, please, close your eyes and follow the horrible trumpeting of this swan’s voice calling you to meet and say goodbye.

The show will open at 6 pm, and will close at 9 pm. Towards the end, I would like to play my cacophony for you. It’s going to be noisy. You’re welcomed to bring ear plugs. You’re also welcomed to bring something to drink, and you’re for sure welcomed to buy one of the last copies of the small first edition of my book (books are highly discouraged for migratory birds). But even more than that, you’re really welcomed to come and share the duckness of this swanlessness.

Farewell so close, 

Víctor Albarracín Llanos



|| Margarethe Drexel & Maximilian Bauer: The World as Will and Representation || May 17 - May 23 | OPENING RECEPTION: May 16th, 6 - 9 pm |


I apologize to start this message with a tricky question, but please, let me ask you something: what do you do when you have absolute power? Have you ever feel this, even for a second? I mean, when you blink and then you realize that you’re in the right moment and the perfect position to do whatever you want, especially to someone else. Do you know this? Do you ever experience this pervasive sensation to have complete domain over the other? Let’s say, a master before a crowd of eager pupils expecting to be illuminated, or a mother confronting the remorseful son right after being caught in major fault. Have you ever been the master or the mom?

What do you do when you are in the situation to give a lesson, to impose a view, to conquer a land, to win a match? What can you do with other’s disposition to submit to your power?

I ask you about it since I feel confused when I’m the one ruling a situation.

Don’t you ever think about the absolute dependent, the weakest, the one who accept your unlimited power without a shadow of a doubt? Don’t you feel strange before the one who surrenders without struggle? Don’t you find yourself in a completely uncomfortable situation once your invincibility is revealed?

And what about the one who ignores that you are unable to even take care of yourself but, nevertheless, trust you to the point to put his or her life in your hands as if it was as simple as a children’s board game?

Well, I think about it.

And then, the thought about my power dissolves that power in hesitation. So, the other, the one who abandoned from the beginning his or her will for the sake of mine’s, reveals powerful and perfect, surrounded by the beautiful aura of his or her absolute trust, of his or her infinite fragility, impossible to be broken by any other’s power, by no action of whatever force.

This situation reveals a space in between, a moment where power collapse and both master and pupil resign to every possible position, becoming a very deep void or an unnamed lacking.

I call this a relationship. Or a miracle.

And both are impossible to be represented.

Please, abandon yourself to our confusing power and bring your vulnerability to Selecto, where Margarethe Drexel and Maximilian Bauer will show you the World as Will and Representation.

Drinks to be served, fun to be provided, conflicts and turbulent thoughts to be enacted.

|| Andrés Felipe Uribe: Aufführende videokünstlerische Bildschirme Kolumbiens || VIDEOSCREENING & PERFORMANCE: May 7th, 7:30 pm |

Queridos Selecto’s,

After the rotund success of Third Law of Motion, the solo show by Andrés Felipe Uribe, our never well pondered first artist in residence, we are really glad to invite you to this special event: Aufführende videokünstlerische Bildschirme Kolumbiens, a retrospective screening, music show, spoken word act, and afterhours to close the fruitful term of this first residency project and also to celebrate one decade of Uribe’s decadent videos.

For this special occasion we will join together at our associated location in Boyle Heights, on Thursday, May 7th, from 7 pm on. This event is an informal, sentimental gathering at a domestic environment, therefore, we warmly encourage you to feel comfy and bring some snacks and drinks to share.

A screening of Andrés Felipe’s selected video pieces will start about 7:30 pm and, around 9:00 pm, we will have a musical intermezzo by Leider, Uribe’s experimental black folk metal project, ready to cheer your souls up with a big explosion of dark, distorted and autistic drone riffs.

This is a unique invitation that you will not regret to accept.

Please, feel welcome to coexist with us.

This event and residency have been possible thanks to the support of Ministerio de Cultura (Colombia) and Instituto Distrital de las Artes – IDARTES.