Join us to celebrate the opening of subterranean convergence, a sculptural installation and score for performance, by artist LaRissa Rogers. Rogers will present an original performance, choreographed by Sharon Chohi Kim, that approaches the installation from a sonic dimension, considering sound in relationship to movement, memory, inheritance, and transformation. Before you see the train, you hear it; sound becomes an indicator of arrival. A trio of performers will form a polyvocal soundscape as they move through the converging routes formed by the contours of the installation.

While the installation is on view through March 7, 2027, visitors can follow the score for performance themselves, which presents three paths to choose from and prompts improvisational soundmaking. The score will be available on physical signage and on the project’s website.

Musical composition and performance direction by Sharon Chohi Kim.

subterranean convergence, by artist LaRissa Rogers, is a sculptural installation and score for performance that draws on the geographies of the transcontinental railroad between the American South and West to investigate the ways liberation has been conceptualized—and where it might still be. Over 50 community members and institutions between Los Angeles and New Orleans were invited to contribute objects of personal or historical significance. Within a simulated railroad, chinoiserie-style tracks hold tabby-cast reproductions of these objects on the former site of the Southern Pacific River Station. This project explores collective memory and memorial by archiving the movements of people and goods across generations and geographies.

Through a collaboration with artist Michelle Sui, a visual score for the performance invites visitors to engage with the installation. Accompanying the installation will be a website containing the score, an ArcGIS map of all contributed objects and their information, and a curriculum coproduced with scholar Angel Adams Parham.

ABOUT THE ARTIST
LaRissa Rogers (b. 1996) is a multidisciplinary artist whose work investigates how personal and shared memory and history impact the perpetual evolution of cultural identity formation and placemaking. She has exhibited at Documenta 15 (Germany); Weserburg Museum (Germany); Lilley Museum (NV); the Wattis Institute of Contemporary Art (CA); the California Museum of Photography (CA); the Virginia Museum of Contemporary Art (VA); Los Angeles Contemporary Exhibitions (CA); California State University, Fullerton; The Massachusetts College of Liberal Arts (MA); Torrance Art Museum (CA); and the Fuller Craft Museum (MA). She received the Visual Arts fellowship at the Virginia Museum of Fine Arts (2022) and the Fine Arts Work Center Fellowship (2023–2024). Rogers has also held residencies at the Bemis Center of Contemporary Art (2022), the Skowhegan School of Painting and Sculpture (2024), and MASS MoCA (2025). Rogers is a tenure-track assistant professor and sculpture area head at the University of Virginia. She is currently represented by Super Dakota.

ACCESSIBILITY

Arrival
Los Angeles State Historic Park is located at 1279 N Spring Street, directly adjacent to Chinatown and the Metro A Line. Follow the dirt path around the perimeter of the main lawn of the park to the northeast.

Parking
There is paid parking at 1501 N Spring Street, the main parking lot of the park, at $2/hour, up to $8 daily. The park will open the dirt overflow parking lot [which one?], which is free and first come, first served. There is also free street parking around the park. Please avoid parking near residential homes on the east side of Main Street and give yourself plenty of time to park and walk over!

Restrooms
There are several all-gender public restrooms and portapotties on site.

CREDITS
subterranean convergence by LaRissa Rogers was commissioned by Clockshop and curated by Cat Yang, Director of Artist Projects, and Isabel Yi Jimenez, Artist Projects Manager. Clockshop’s projects at Los Angeles State Historic Park are supported through our long-standing partnership with California State Parks.

The production of this work was generously supported by the Hearthland Foundation, the Mike Kelley Foundation for the Arts, the National Endowment for the Arts, Anonymous Was A Woman, University of Virginia Karsh Institute and Department of Art, Accelerated Resilience Los Angeles, Betsy Greenberg, and Clockshop’s generous community of supporters.

Contact the host of subterranean convergence: Opening Reception and Performance

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