Things to do in Los Angeles on Sunday

Telling the story of Gorillaz, the animated band created by Blur’s Damon Albarn and British artist Jamie Hewlett, involves a bit of real-world history and a bunch of cartoon mythology. House of Kong manages to blend both of those into a truly transportive walkthrough that mixes an art-on-the-wall gallery show with a cartoon-come-to-life manifestation of one of this century’s most singular bands. The L.A.-by-way-of-London experience, which sets up in the Arts District’s Rolling Greens from February 26 to March 19, starts outside in front of a hulking statue of Pazuzu, a Mesopotamian demon-god and in-universe motif that’s been plastered with decades-spanning Gorillaz stickers. That’s about the only thing you can photograph until you reach the finish of this largely phone-free experience (the island model from Plastic Beach and a sizable gift shop greet you at the end). From there, you’ll be handed a pair of headphones and embark on a half-hour-plus audio-guided tour. House of Kong starts like a proper museum show; gallery lighting focuses on prints of early concept art of 2-D, Murdoc, Noodle and Russel before diving into relics that chart the rise of the band (including, ahem, a 2005 Time Out London magazine cover) and its world-building lore. From there, in the classic style of a Disneyland ride preshow, things go awry, and the following five sections (no spoilers) see guests traversing through lovingly cluttered sets just bursting with hazy homages to both the animated...

Ponyo loves Sosuke! And we love this exhibition at the Academy Museum dedicated to the wholesome Hayao Miyazaki film. Studio Ghibli donated more than 100 objects to the Academy Collection, and you’ll find everything from an animation desk to colorful art boards to dozens of frame-by-frame pencil drawings of the scene when Sosuke first finds Ponyo. Though you may recognize a couple of items from the museum’s debut Hayao Miyazaki retrospective, the vast majority of Ponyo pieces are new—and some have never been displayed in North America before. It’s also a colorful and super kid-friendly exhibition; you can watch clips of the gorgeously hand-drawn movie, recreate the wave-running scene and even make your own stop-motion animation. You’ll find it on the museum’s second floor, inside the first few galleries of the “Stories of Cinema’ space.

This display of film and video art, billed as “a sweeping odyssey into the depths of human experience,” will take over all six stories of the abandoned, historic Variety Arts Theater in Downtown L.A. (the theater served as the setting for this past Halloween’s immersive haunt Delusion, and the expansive space was as impressive as the production itself). Over a century of visual storytelling will be explored, blurring the line between visual art and cinema. The contemporary video works by artists including Marina Abramović, Doug Aitken, Chris Burden, Cyprien Gaillard, Arthur Jafa and Precious Okoyomon—juxtaposed with cinematic works by the likes of Walt Disney and Georges Méliès—come from the time-based art collection of the Germany-based Julia Stoschek Foundation.

There’s nothing Christmassy nor even wintry about this hour-long Palos Verdes trail, yet its nine stellar installations are the most cosmically mesmerizing of the budding after-dark botanical garden shows that’ve come to blanket L.A. toward the end of the year. Astra Lumina, which debuted in 2022, returns to South Coast Botanic Garden with the same array of celestial-inspired displays. Last year’s edition was basically identical to its debut. But if you loved your first trip to Astra Lumina or haven’t been at all, we still think this is a worthwhile (albeit somewhat expensive) event—perhaps better suited for a date night than a large family affair. While some other year-end light shows seem less focused on moment-to-moment encounters and more on the photogenic snaps you’ll walk away with, Astra Lumina feels truly experiential. You’ll venture through scenes that interpret the arrival and departure of stars in an earthly garden: Archways pulsate with light and mist, perforated lanterns spell out a stargazing journey, shooting stars chase up and down a cylindrical frame, shimmery bulbs blanket a forest floor and tranquil lanterns float among the trees. There’s plenty of wonderfully atmospheric fog along much of the trail, including in a shower of lasers so thick that you’ll swear you can touch them. (It’s also worth mentioning how lovely it is to experience a celebration of the night sky in one of the few locations in L.A. where it’s actually dark enough to see plenty of...

Every Sunday, you can find dozens of food vendors at this market at ROW DTLA, a Brooklyn import that boasts a mix of much-loved pop-ups and future foodie stars. Thirteen new vendors are joining the lineup this year: Feast on burgers and orange chicken sandwiches from Terrible Burger, Viennese street food from Franzl’s Franks, Neapolitan-meets-Persian pies from Mamani Pizza, plant-based corn dogs from Stick Talk and more. Wash it all down at the family-friendly beer garden. You’ll also find shopping stalls selling everything from framed vintage ads to jewelry made locally with ethically sourced gemstones. Entry and the first two hours of parking are free.

When Mexican director Alejandro G. Iñárritu made his debut feature, Amores Perros, over a million feet of film didn’t make it to the final cut (to put that into perspective, the finished two-and-a-half-hour movie used around 18,000 feet of film). Twenty five years later, some of these unearthed reels of celluloid now zip through a ground-floor gallery at LACMA as part of a multi-channel film installation. As much a piece of sculpture as it is film or video art, Sueño Perro assembles six 35mm projectors that pierce the hazy near-dark space with raw, nonlinear snippets of the movie, fed from a mesmerizing curtain of film stock speeding along sprockets. It’s an intense experience, both sonically (during the car crash that connects the feature’s storylines) and visually (dog fighting plays a pivotal role in the film, though you’ll see here some of the behind-the-scenes tricks that kept the production cruelty-free).

When I first stepped foot inside of this exhibition of decommissioned Confederate monuments and reflective contemporary art pieces, I was taken aback by the scale of it all. I’d seen the installation photos of the side-by-side statues of Confederate generals Stonewall Jackson and Robert E. Lee on horseback, but as I craned my neck up at these towering tributes, they felt awe-inspiring in the most dreadful meaning of the phrase. Most Angelenos don’t need to be convinced of the immoralities of the Confederacy—but most likely haven’t been forced to come face-to-face with such Civil War iconography either. “Monuments,” displayed almost entirely at MOCA’s Little Tokyo warehouse with a single Kara Walker installation at the Brick in East Hollywood, presents tangible proof that these monuments removed from public view over the past decade were not simple, somber remembrances for the recently deceased, these were larger-than-life celebrations of the Confederacy forged in the Jim Crow era and often financed by folks seeking to twist its history. Works from 19 artists respond either directly or thematically to the many statues on display, or in some cases physically alter them: Bethany Collins’s Love is dangerous chisels pieces of the granite pedestal of a Stonewall Jackson monument into Carolina rose petals. Other graffitied or paint-splattered statues speak for themselves: The Robert E. Lee monument at the center of 2017’s Unite the Right rally in Charlottesville, Virginia resides...

A display of over 30 mummified people and animals is back at the California Science Center; after the exhibition debuted there back in 2010, it traveled through the U.S. and Europe before returning to L.A., which is the final stop on its tour before the artifacts are returned to their lending museums. This time around, you can see a selection of specimens never before shown in Los Angeles. Mummies are, of course, most often associated with ancient Egypt, and while Egypt is represented here, you’ll also see mummified remains that were discovered in Germany, Hungary, Peru—even the University of Maryland, which in the 1990s carried out the first ancient Egyptian-style mummification performed in 2,800 years. Memorable artifacts include the two Peruvian “bundle” mummies making their West Coast debut, amulets and organ jars (just like you learned about in history class), an ancient Egyptian cat mummy and a shrunken (but still very cute) sloth head. Be warned, though, that as you make your way through the different rooms, the displays become more macabre and, dare I say, haunting, with mummified organs and babies—so make sure you (and any kids in attendance) know what you’re getting into before visiting the exhibition. The museum’s IMAX theater will be screening the complementary 40-minute Mummies 3D: Secrets of the Pharaohs, and if you buy combo tickets for both the exhibition and film, you get a small discount on both.

Catch sets from up-and-coming performers, local legends and global talents during this free music series at the Getty, which features a pair of shows from a different band each weekend. The concerts kick off in February with Inuit soul musicians Pamyua and continue in March with gospel choir Jimetta Rose & the Voices of Creation and April with Persian poets Mahsa and Marjan Vahdat. Get there early to check out the museum’s exhibitions, then head to the Harold M. Williams Auditorium for the show.

The reopened Getty Villa will descend into the underworld with this exhibition, which looks at the ritual spells and religious writings ancient Egyptians employed to garner favor with Re and Osiris in the afterlife. See the Getty’s collection of rare Book of the Dead rare hieroglyphics-adorned and illustrated manuscripts, dating back to around 1000 BCE, which were last displayed in 2023. The show should dovetail nicely with the museum’s “Sculpted Portraits From Ancient Egypt,” which runs through January 2027.