Head Compressor II (Cold Wipe of Memory) (2014) “young hot artist/zombie formalism” themed group show curated by Jeffrey Vallance. Emulation of emulations and utilization of the concepts of the market/pedigree of arts education to graduate market ready.
$ 75,000 Alan S. Tofighi Plaque in the Michael Asher Studio (2015) writing out emails to the financial aid office, I overheard a tour guide showing investors around the block upon the dedicaiton of the John Baldessari Studios.
“Tour Guide: as you can see here this is the Ed Ruscha studio, this is the Jennifer Steinkamp studio, here is the Susan Steinhauser studio, and here is the Daniel Greenberg studio
Investor: Do you have to be an artist to have a plaque?
TG: No, Susan Steinhauser and Daniel Greenberg are not artists.
I: How much are they?
TG: $75,000
I: Okay I want oneā
I could only afford ~$40,000 So i made the plaque myself to save on costs and time.
Drip Chain (2016) installed as part of the installation The Los Angeles Water Table curated by Joachim Eckl. This outdoor social sculpture was one of many by other students in Michael Pisaro’s Experimental Music Workshop class at CalArts. Participants were asked to freeze their own personal drinking water and to bring that sculpture where it would interact with other sculptures and sound
Selected Scores by Alan S. Tofighi (2014-2017) b/w Selected Audio from Selected Scores by Alan S. Tofighi (2014-2017) (2017) Book and audio accompaniment for the California Institute of the Arts MFA2 Mid Residency Exhibition. the book contains selected scores, essays and information on the scores, and a packet on the selected audio playable on either disc I or disc II playable on the battery powered CD player limiting choice and duration
SET/SIM study for remake of Night of the Lepus (1972) for Crisis of Actors/Actors of Crisis (Animal Apocalypse) (2018) Installation/mapping of entropic forces inherent in the automatic running of the animatronics, microphones and recorded to be synced up with in a still in process green/snuff remake of several films of unsimulated cruelty so be simulated and surpassed via cinematic language tropes.
Acumen Reducing Stream of Forged/Fatal Actions I (Animal Apocalypse) (2017)Ā and Modular SITSIM Kit (BĆŖte Machine Variant) (2018) as part of Rattlesnake Bells in the Desert (2018) at the Box Gallery curated by Daniela Lieja-Quintanar
Blinky Resonator Derived Chicken Scratches (2019) Crucial Blinky sites (birth/death, discovery of the body, and final resting place) were converted to frequencies/sine waves forming the Blinky Chord. During playback of the Blinky Chord acoustical phenomenon occur as an attempt at communion with Blinky. Shown as part of the Blinky The Friendly Hen 40th Anniversary Exhibition at CSUN Art Gallery.
Instrumental Decommission I (Gutted Heap) (2019) discarded, repurposed, and reused objects from various points of disuse in post-use as performances tools and often discovered/repurposed from discarded sources to begin with. Second stage of disuse/removed use in the ontologically desirable state as an art object. Shown at WORKSPACE ONLY/NO OVERNIGHTS at Art In The Park LA, a group show focused on the immediately available, precarity, and developments in the post-studio in the form of the inevitable bedroom studio.
AST/Flatledge Showcase (2019) booth of installed Critical Bands to showcase merchandise in the form of hypo-limited archival CD’s, performance tools, instruments and ancillary products in order to further complicate personal history, archival material, performance histories, and the brand. A performance as an amalgamation of AST, Galvanic Control SET/SIM, The Hand of Glory, Post, and Tofighi plays T.O.F.I.G.H.I also occurred. Shown as a part of Wealth Management/Financial Instrument at Go Build Business curated By Jeffrey Vallance
TPLRDR Stereographically Reprocessed I-VII (2017) A series of seven VR pieces documenting a home of a close contact afflicted by hoarding. Post no. 1 Memory Composition of Visceral Residue (2018). Cagean Foley critical band revealing sound gerenation to a silent backing video of actions in reverse. exhibited and performed as part of Hoard Inaugural at Los Angeles Contemporary Archive 2019. Curated by Scott Benzel.
Institutions Bond – In Debt to Friendship/Friendships Bond-In Debt to Institutions (2019): Selection of Critical Compositions & Bands 1894-2007) presented by Alan S. Tofighi, Collaborations 2014-2018 (Revisited) I-VI and Collaboration Bootleg I (12 Scorpions for Swam) as part of Pay to Play presented by the Official California Institute of the Arts Residency Program curated by Adam Otto Lutz
Products & Events Fall 2010 – Summer 2020 (2020) An artist book documenting flyers, performance tools, texts, products, catalogs and other ephemera that accumulate over an interdisciplinary practice was presented as part of the collective object subject at Other Places art Fair 2020. The catalog and “flattened abstraction work to deflate the crucial yet arrogant task of artist as personal historian via the absurdity of the catalog of catalogs. Curated by Jinseok Choi, Jenny Eom, and Adam Otto Lutz.
D:ets (Deat ‘deauther: Enjoy the Silence) (2021) Wi-FI Jammer built to interact with the Torrance Police Department who Shares a parking lot with the Torrance Art Museum as part of MOTOR’s larger Defund the Police action. Torrance Art Museum.
Instrumental Decommission II-IV (Structural Leak) (2022) Former housing and armature of performance tools, and mail containing financial information. As part of Everything Must Go: MOTOR One-Year Anniversary Show. “Attendees of our 1-Year Anniversary will be invited to bring their own ājunkā artworks to trade, one-for-one, from those exhibited. At the end of the event, the original participating artists will have the opportunity to take a new ājunkā artwork home.”
3rd Sight/Stargated: 34.9573Ā° N, 117.2127Ā° W (Desert Lighthouse Plein Air in the Style of In the Style of Russell Targ) (2022) Plein Air painting done in my backyard of Daniel Hawkins’ Desert Lighthouse as part of VPAC X DLV at PRJCT. Curated by Doug Harvey.
Played List: Peopleās Synth/BootādĀ (2024) objects created for use outside of exchange; bootlegs without an original. The bootleg remains accessible and distributable; cheaply or even freely owning its fakeness as opposed to the counterfeit only rooted in deception. Two Sondol bootlegs send out echolocaiton pulses to signal the networked free pile. shirts are available to the viewer but doing so they trip a laser electric eye burglar system. audience are then allowed to permit what is a a security measure, or music. As part of Sunrise to Sunset (2024) exhibition dedicated to opening public space. Curated by MOTOR.
