Allright so my computer is fairly f-ed and therefore this show note will be even less witty than usual. A bunch of post-its are wedged between the keyboard and the video processor to hold it in place. Curse you IBM.
Duncan and Marc LeBlanc talk to Caleb Lyons of Old Gold Gallery and formerly of Art Ledge.
Duncan talks to artist Lisa Boumstein-Smalley about her new show at the Alfedena Gallery.
Brian Andrews and Marc LeBlanc talk to Justin Hansch about Justin’s Museum of Contemporary Art. We collectively apologize for the crappy sound quality on this one but we are working to correct the problem.
Sarah corrects BAS on their grammar.
This Week: Guest interviewer Lisa Dorin talks to German artist Jana Gunstheimer (see the blurb shamelessly lifted from the AIC website, below). ALSO we get two different perspectives on the fight over the Public Art Program and how they handle the selection and approval process. Kathryn talks to Olga Stefan Executive Director of the Chicago Artists’ Coalition at Monday’s protest rally, and
Richard spent a lot of time chuckling to himself about the music cues in this weeks show.
German artist Jana Gunstheimer combines her academic training in ethnology with a refined figurative drawing practice to observe and comment on aspects of her own culture. Gunstheimer responds to the transformations she sees taking place in contemporary German society including postindustrial desolation, drastic unemployment, and rising levels of aggression among people of her generation by way of a semi-fictional organization she calls Nova Porta. Complete with a logo, Web site, and an actual membership, the organization offers People without Social Function a semblance of structure through group cohesion and rigid hierarchy.
Adopting impenetrable rituals, tireless evaluation procedures, and managed leisure, the organization’s stated goal is risk management and its activities are driven, if not wholly fabricated, by the artist. Under the conceptual framework of Nova Porta, Gunstheimer effectively parodies hierarchical structures, bureaucracy, and, most importantly, society’s need to define oneâ��s worth in terms of work.
Focus: Jana Gunstheimer is the artist’s first solo museum exhibition in the
There’s a sad sort of clanging from the clock in the hall
And the bells in the steeple too.
And up in the nursery an ubsurd little bird
Is popping out to say cook-coo cook-coo, cook-coo
Regretfully they tell us cook-coo
But firmly they compell us cook-coo
To say goodbye cook-coo…
So long farewell, auf weidersehen good-bye
Update it has been confirmed that Edward Lifson has left Hello Beautiful as can be read here
Nothing is absolutely sure right now but WBEZ has redesigned it’s website and in the process there is no mention of Edward Lifson. Try to find his name anywhere and you come up with nothing. As you can see in these two photos of the website before and after it has gone from “Edward Lifson brings you in monotone polyphonic sound! Edward Lifson’s Hello Beautiful!” to “Hello Beautiful………….chirp…….chirp”. The Edward Lifson blog is not referenced and according to Alison Cuddy on this weeks show Edward Lifson is “out furthering his education on the arts”.
If it was a vacation they would have said vacation this isn’t Pro Wrestling where you have to have a fake injury to keep the “plot” moving while you bask in the Jamaican sun for a few weeks. Is he out like Kane walking the earth learning about art from the people that cross his path (and solving crimes on the side?) or is it more likely that with the new look comes some changes for WBEZ only time will tell. Until it does and we can in fact say goodbye to Hello Beautiful, it’s 1980 tone music opening and it’s monotone euphoria of this weeks “Hello Fellow!” we will count the seconds till it is over just as we do when we actually listen to the show.
Email from Chris from Zeke’s Gallery
Subject: Ridiculousness in Montreal
I hope all is well in your neck of the woods, and that you are enjoying the summer.
I am writing to let you know about the latest step in this increasingly bizarre story, I am being charged with contempt of court. The hearing is on June 21 at 9 AM. This is on top of the permanent injunction against my blog, along with a request for $25,000 in damages
If you aren’t certain what it is exactly all about, there is this article from the Montreal Gazette Article about it http://tinyurl.com/2pqfa4
As an attempt to show my guilt they are using Google’s cache of my blog post, http://tinyurl.com/2lvs8o and they are also saying that the article in the Hour about this case is more proof of my guilt http://tinyurl.com/3asn3fand the Metroblogging Montreal post that I wrote about the case http://tinyurl.com/3dkt3e is something like the final nail in the coffin. All of which is patently absurd.
If you choose to write about this, please be careful in choosing your words so that you do not get sued yourself, but if you would like to show people what I am being sued for try these:
If you would like the detailed background start here: http://zekesgallery.blogspot.com/2007/05/things-escalate-request-for-injunction.html
and then click here:
If you would like to read what I can’t post, these are the articles that
I linked to in my blog:
And this is the response so far from the blogosphere.
Thanks tons in advance, and I hope all is MUCH better with you than it
Chris ‘Zeke’ Hand
This week Michelle Grabner and Duncan interview Gaylen Gerber.
“Gaylen Gerber’s work often incorporates the artwork of other artists in its realization. Gerber asks other artists to cooperate with him and let their work be installed against the ground he provides. In doing so he focuses our attention on a central aspect of perception, which is that to perceive something at all you must first be able to perceive it as distinct from its context or background. By positioning his work as the contextual ground against which we see another work of art, Gerber draws attention to the permeability of the distinctions between object and context and fundamentally questions the stability of perception itself. Gaylen Gerber has exhibited widely including recent exhibitions and cooperative projects at the Musee d’Art Moderne Grand-Duc Jean in Luxembourg, Luxembourg; FRAC-Bourgogne and Musee des Beaux-Arts, Dijon, France; Kunsthalle Bern, Bern, Switzerland; and The Art Institute of Chicago, Chicago, Illinois.
Exhibition view of Gaylen Gerber’s 2006 Mudam exhibition featuring Gerber’s work with Kay Rosen, Sam Salisbury and Remy Zaugg. Zaugg’s text roughly translates: and if, as soon as I act, I was not being anymore. Photo: Jean-Noel Lafargue.”
The closing song goes out to Duncan.