In that vein, they are also calling for those with knowledge of past shows and performances to bring their memories and historical material into the mix.
Embodying the idea that the SFAC Galleries are the people’s galleries, staff have moved their desks into the exhibition space for the duration of the show, where they can help visitors sift through the boxes of history and continue the active work of archiving during open hours.
The Capricorn Chronicles is one-part exhibition of historical stuff, one-part archive-in-progress and completely open to the public for browsing. (Graham Holoch)Ĭurrent gallery staff (the show is co-curated by Cece Carpio, Jackie Im and Maysoun Wazwaz) unearthed this poster from the gallery’s 50-year history, along with countless pieces of correspondence, newspaper clippings, slide sheets, and the Grove Street gallery’s original signage, for this welcoming, experimentally formatted show. A stream-of-consciousness text that has something to do with bread fills up half the poster, and a subtitle in red bubble letters promises “a visionary experience.” The poster for the first Capricorn Asunder show, 'Saturnalia,' in 1970. Illustrated bursts of popcorn float above the show title. The poster for the gallery’s first exhibition (called Saturnalia, of course), on display behind glass and blown up as a bit of exuberant wall vinyl in the SFAC Main Gallery’s current show, The Capricorn Chronicles, is suitably trippy. No one in 2020 can quite determine how the gallery's name, “Capricorn Asunder,” was chosen, but Benvenuto's astrological sign is a potential clue. When the city’s arts commission opened its first gallery at 155 Grove Street in 1970, under the supervision of then-visual arts director Elio Benvenuto, it took its cue not from stuffy city affairs, but the local art scene’s unfettered spirit. This was never the case in San Francisco. The three astronauts escape and separate, hoping that one of them will live to expose the sensational fraud.When I say “municipal art gallery,” what comes to mind? Is it something buttoned down and formal, gray and dour? An arts space that plays it safe? After news reaches the captive astronauts that their rocket disintegrated upon re-entry and the world believes them dead, they know their very existence poses a threat to national security. Caulfield and a colleague search for the truth. Intrigued by the possibility of a government cover-up. Receiving no co-operation from his supervisors, he casually mentions the incident to his friend, reporter Robert Caulfield (Elliott Gould). As the flight apparently proceeds on schedule, a NASA technician notices a discrepancy in a computer read-out. On a nearby sound stage, a simulated walk on Mars is set. The astronauts are removed from their spacecraft to an abandoned desert hangar and ordered to participate in an elaborate charade, simulating a Martian landing as cameras roll and with the entire world as an audience. The whole world is watching the first manned flight to Mars, but its three astronauts are plunged into a hair-raising battle for survival within a clandestine operation involving intrigue and murder.
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