|| Andrés Felipe Uribe: Third Law of Motion || May 3 - May 9 | OPENING RECEPTION: May 2nd, 6 - 9 pm |

Dear Selecto’s,

By chance or by fate, life puts two bodies together. These bodies approach to each other, repel each other, caress each other, roll next to the other, coexist with this significant other. Each one of these bodies is impacted by life or by chance or by fate in very particular ways, but somehow they figured a way to remain together; life takes them as a pack of two, as a flock of two or a school of two, coordinating the reverberation of one into the other. These bodies represent a force, they constitute an articulated system and, as part of this system, each one takes care of its place and the place of the other.

By chance or by fate, life put these bodies on the road and the road is long and wide. Life keeps this bodies in movement, and the experience of these bodies on the pathway looks like a big adventure, a big achievement for such a modest couple.

The third law of motion states that for every action (force) in nature there is an equal and opposite reaction. The actions of these two bodies, impacted by life in different ways but structured on the premise to remain together, results in the evidence of a big failure. Traction and attraction exerted over these bodies by a higher power lead them to break the illusion of unity, revealing the intrinsic separation of these two bodies that pretended to be one.

Andrés Felipe Uribe is the first artist in residence at Selecto. Coming from Bogotá, Colombia, where he works as a visual and performance artist, musician and poet, he produced this piece as an endurance project that he supposed to be a commentary on leisure, non-competitive sports, la flânerie, cultural exchange and spleen. The project, suddenly turned into something completely different, reveals the hidden grandiosity of the unexpected twopenny catastrophe.

We are really pleased to invite you to see this show and collide against life as an example of the third law of motion.

We definitely encourage you all to join us this Saturday, May 2nd, and enjoy the first part of this intense week of activities and encounters with the work of this artist, who is, not by chance but by our trascendental will and vision, our first resident.

This show and residency is possible thanks to Ministerio de Cultura (Colombia) and Instituto Distrital de las Artes – Idartes.


|| Regine Rode: Floreana || April 5 - April 25 | OPENING RECEPTION: April 4th, 6 - 9 pm | CLOSING RECEPTION: April 25th, 6 - 9 pm |

Dear Selecto’s,

One of the reasons for a group of individuals to open an artists’ space is, for sure, to point towards new territories. In general, these virgin lands exist as promises, as non regulated territories and, certainly, as opportunities. Without the pressure of the market or the intrinsic stress of institutionality, artists’ spaces articulate their operations on the fertile ground of a utopia. As every other real utopia, the one that pushes forward the vision of an artists’ space, results to be unreachable, and this structural limitation is usually associated with the idea of falseness. People usually say utopia is false since they can’t reach it, but if they could, utopia wouldn’t be utopian anymore.

Then, artists’ spaces organizers are usually pointing ahead while walking, but never reaching the horizon they pointed at the right moment. Always too late or too soon, this frustrating lack of synchronicity is one of the conditions that make spaces to keep going on.

Evidently, artists’ spaces activities are profoundly frustrating: threatened by the practice, bullied by the theory, and betrayed by their own elusive aspirations, the spectrum of what those spaces do is, usually, more the manifestation of a set of contingencies than the foundation of a promised land.

Nevertheless, Selecto–Planta Baja, as mostly other artists’ spaces, keeps walking in search of this promised land. Part tourists, part pilgrims, and part expeditionaries, we keep looking for good soil to point at and, sometimes, we meet other pointing travelers to share news from lands so faraway.

We have the pleasure to invite you to visit Floreana, an exhibition by Regine Rode opening at Selecto this Saturday, April 4th, from 6 to 9 pm.

Regine Rode arrived to L.A. from Munich, almost two semesters ago, in the search of some utopia. As an sculptor/installer, she’s been creating structures to stage her search for a utopian space, and this search assumes the form of a set, of an unreal construction that gives voice to a fantasy, knowing that “fantasy” comes from phantasia, “imagination, appearance” and phantazein, “make visible,” but, at the same time, is close to phantasm, “something that exists only in a person’s mind” and, finally, to phantasten, “the visionary.”

Regine Rode fantasizes and works, and, as soon as the work is done, her production becomes the residue of her fantasy. A fantasy to be left to have the chance to envision it.

Please don’t miss the chance to come to our awful utopian land, right on the basement of a swap meet on 6th Street and Bonny Brae. Sometimes, not adverting what someone is pointing at from the distance, is a way to forget that, even as fueled by frustration, utopia is marching on with us.

|| Beginning of the 'PASSION WEEK' - Screening | Curated by Selecto & Cathrin Bengesser || March 28th, 9pm |

Dear Selectos. 

A hard week lies ahead of us!

Pain, betrayal, sacrifice, blood, death but ultimately believe, salvation and resurrection. The Passion Week leads us through a process of transformation, physically and emotionally. Selecto’s Saturday screening celebrates the beginning of this year’s Passion Week with a look at renderings of these processes in film history, art, music and “the internet”. 

Come & cry with us! 
This time, we are special Guests in East(er) L.A 

736 S St Louis St, Los Angeles, CA 90023. Saturday, 28th of March, 9pm.

(Image: Joseph Anton Koch, Antenora, Illustrations of The Divine Commedy, 1817 – 27)

|| Super Selecto || PUBLICATION RELEASE: March 13th, 7 - 9 pm |

Artists spaces create universes. Taking separate particles, they articulate transitory estructures that produce movement. Functional collectivities are formed for short amounts of time, but even when on a hiatus, the memory of their interactions remains active and significant.

Artist spaces are cosmopolite. Operating from the margins, they introduce new centers and redefine power dynamics in the small. 

Artists spaces take advantage of their precariousness. This precariousness is the most precious jewel of an artists space. The fancy gallery and the respected museum envy the makeshift nature of the artists space, but their imitations are lame.

Artists spaces trust. Even not knowing the other, there’s a mutual trust, there’s a tendency to welcome the alien, the other, the estranged. 

Artists spaces production is not a cultural spectacle. Rejecting the logics of mass production, they produce holes and gaps, and this gaps have the form of an affection. Giving what they don’t have to people who never want to receive it, these spaces of dispossession create excess, and excess is the nature of absolute generosity. 

Elisabeth Haid and Josef Schröck articulated the production of an editorial project connecting two artists spaces which are culturally, economically and geographically separated: Super, in Vienna, Austria, and Selecto – Planta Baja in MacArthur Park, Los Angeles, California. Under the form of a something between a zine and a catalogue, they linked artists never supposed to meet. A generous curatorial position without an imposed narrative gave freedom to artist to participate as they wanted. 10 from Vienna and 10 from Los Angeles, so you can see the war, the match and the fraternity. 

We sincerely invite you to come, see, read, and connect.

And, please, buy this publication.

Participating artists:

Michail Michailov
Nika Kupyrova
Herbert De Colle
Ahu Dural
Michael Kral
Hong Zeiss
Michaela Schweighofer
Veronika Burger
Kirsten Borchert
Florian Aschka
Thorben Eggers

Mirjam Thomann
Andrés Felipe Uribe
Raul Baltazar
Renée Petropoulos
Benjamin Weissman
Margarethe Drexel
Isabela Avila
Víctor Albarracín-Llanos
Carmen Argote
Elena Bajo

|| Roxxy's Glamour Shots || February 14 - February 27 | OPENING RECEPTION: February 13th, 6 - 9 pm |  CLOSING RECEPTION: February 27th, 6 - 9 pm |

Hi there, you, beautiful people. 

For years, Roxanne Rendón consolidated her expertise in the field of glamour and beauty, as a make- up artist, stylist and beauty consultant. Her story is filled with anecdotes from the early 80’s, while working at JC Penny Salon, Freeze Frame, The Perfect Look and Chic Images where she began working with photographer Osa Danam to 2007, when Roxy began Roxxy’s Glamour Photography. 

Roxxy is opinionated when she discusses glamour aesthetics and upholds a set of ideals and principles on glamour. Attest the evolution, flourishing and decay of a set of views on the right way to represent human beings in a social agreement of what can be considered elegant and sophisticated. Almost every fire place, bedroom or side table in middle class family houses over the country seemed to have one or several of these pictures, ranging from the 50’s sepia nostalgia to the 80’s softened edges, framed photography of the family or loved ones.

Glamour shots were a distinctive factor in the production of personal image, and decisive for seduction and consummation of a relationship.
For sure, Glamour shots were essential in the establishment of a favorable self-image. Displaying a set of cultural codes, references, postures, dress and camera tricks, transforming the mundane into the glamorous, while developing the narrative of democratic access into the highest virtues of “beauty”. Haunted by the Hollywood ghosts and the promise of fame and fortune, LA culture resulted in being especially keen in constructing it’s false idols. Curating and constructing in a Pygmalion manor, amalgamating self- images taken from several film or pop music stars icons. These constructs, resuscitate the dream, that anyone can be an idol or at worst pretend to be one.

The practice of glamour shooting remains now on the margins, waiting for the next wave of revivalists to be born again from its ashes, ruined by irreverent digital photographers, selfie culture, sub-culture fashionistas and common hum drum consumers.

Roxxy’s Glamour Shots, February 13- 27th. Opening reception, Friday, February 13th, 6-9 pm Closing reception and artist talk Friday, February 27th, 6-9pm

Show can be seen by appointment, email us.

A Glamour Event will take place at Roxanne’s house, Sunday, February 22nd in Highland Park, 9:00 am – 6:30pm ( 9 X 45 minute time slots available). 

We encourage you to make an appointment with raulpbaltazar@gmail.com. It is sure to be a pleasurable day of sophisticated and elegant portraiture. 

FYI: We strongly recommend you to dress up for the occasion. Allow yourself to shine as only Selecto’s distinguished clientele can.

Glittery yours,
The Planta Baja’s


Opening: Friday, February 13th, 6-9pm (We close at 9, sharp).
Glamour Shots Party at Roxanne’s: Sunday, February 22th (Please RSVP).
Closing and Conversation: Friday, February 27th, 5 pm.

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

|| This Pinkishishish Ooze / Ouagadougou || CLOSING RECEPTION: January 17th, 4 - 7 pm |

Dear Selecto’s,

We have the enormous pleasure to invite you to the closing of our first two shows, Universal Deserters by Else (Twin) Gabriel and Stoned Skulls by La Gótika.

Celebrating such an important occasion, we’ll launch This Pinkishishish Ooze, the first anthology of poetry by La Gótika, who will also offer a public reading, and Ouagadougou, a video by Else (Twin) Gabriel which is the first pirate hi quality Videokunst DVD released in our series of unstoppable hits.

We sincerely expect to see you this Saturday, January 17th, from 4 to 7 pm, sharp, to have a wonderful afternoon, some good conversations, amazing poetry, drinks, and tons of plans either for later in the night or later in our lives.

Don’t forget to bring some change to take this jewels home.


The Selecto Team.


|| Else (Twin) Gabriel: Universal Deserters / La Gótika: Stoned Skulls || December 19 - January 17 | OPENING RECEPTION: December 18th, 6:30 - 9:00 pm |

Selecto – Planta Baja has the pleasure to announce its first two shows by artists Else (Twin) Gabriel and La Gótika. An opening reception will be held this Thursday, December 18th, from 6:30 to 9:00 pm.

Join us, invite your friends, and spread the word.

(e.) Twin Gabriel. Excerpt from  21st Century Überfrau #1 / Version 2 , 2000

(e.) Twin Gabriel. Excerpt from 21st Century Überfrau #1 / Version 2, 2000

Universal Deserters

Else (Twin) Gabriel

Certainly, a deserter has a different status than a refugee. A refugee is forced to leave because of an other’s decision, while a deserter chooses to withdraw from an unbearable system. He/she acts in accordance to their decision, against a force that wants to keep them on duty. Else Gabriel´s performance, video-pieces and photography follow within that spirit: whether she jumps through glass, assuming potential harm by her own action, or when her children, her spouse and herself perform as early humanoid Homo Erectus –the first human life form who left Africa to spread all over the world– there is a refusal to act as refugees but rather as deserters, breaking the cycle of obedience imposed by social rules.

This is the nature of the exhibition. Universal Deserters is a scavenger hunt, so visitors are strongly encouraged to peruse our neighbor stalls throughout the mall.


La Gótika  . Stoned Skulls,   2014

La Gótika. Stoned Skulls, 2014

Stoned Skulls

La Gótika

La Gótika is too sophisticated for the antiseptic environment of any art scene. Since early in her life, La Gótika began protesting against the normative of sexual conduct and gender identity in her middle school, during the convulsed late 80’s in East LA. Just a bit later, she became obsessed with the local LA Goth scene, and her exploration of bands like Cocteau Twins, Siouxie and the Banshees, or Bauhaus, gave her a general field of interests and a conceptual framework in wondering who she was, where she came from and when the aliens will come. The narrative of her experiences took the form of make-up designs she wore as part of her character production, of rich and complex emanations of poems and invented words, of glittery objects as well of performative pieces where she expanded her trascendental concerns.

The show, structured upon the fragility of a set of glittery skulls painted on eggshells is just one of the coordinates of a constellation, unfolding ad infinitum somewhere else. Or, as La Gótika states,

"stoned skulls weeds and sun talk to us on our hikes telapathecally."


About the Artists 

Else Gabriel aka Else (Twin) Gabriel aka (e.) Twin Gabriel is a Berlin based artist working both as an individual and in several co-operations for more than 30 years. Born and raised in East Germany, she studied stage and costume design at the Dresden Academy of Fine Arts, where she co-founded Auto-Perforation-Artists, a confrontational art collective, active from 1987 to 1991. Else’s works include performance, photography, installation and text-pieces. She escaped from the GDR shortly before the collapse of the wall. During 1992/93 she was the recipient of a German grant to visit Los Angeles, where she taught at Art Center College of Design, in Pasadena. 

La Gótika is a powerful and multiform trascendental entity that includes a physical living form currently established in Los Angeles.


Thursday, Dec. 18th, 6:30–9:00pm

1816 W 6th Street, Los Angeles, CA 90057

Exhibition open Thursdays–Sundays, 3pm–8pm



|| Mike Kelley | Chicano Artist? LECTURE by Hugo Hopping || November 29th, 7 pm |



"The talk was a performance lecture where I explored the "missing" reading behind the work of L.A. artist Mike Kelley. I asked if MK, was a Chicano artist? I gave plenty of examples and speculated on the nature of his work and the environment in which it developed (East Los Angeles). In addition, I pointed out that the artist produced an extensive critique of whiteness through his work and how he mitigated the local through an assimilation (and not appropriation) of Chicano aesthetics. I ended the performance with issuing Mike Kelley a posthumous certificate of citizenship to the Nation of Aztlan. Where an effigy or avatar of Mike Kelley stepped into the space to receive it."

Hugo Hopping, Los Angeles, 2014