It’s been a bit of a slow week — what I attribute to the extra week in May, and the general shuffling of summer. I at least have been travelling quite a bit, and tend to recognize the same in my peers. People are getting ready to go to residencies, negotiating familial and/or friend visits, stealing long weekends for a holiday, or simply just slowing down at work. It is napping season. A season for tank tops, cut off shorts, and shoes-without-socks. Something of that energy is evident here as well. We have slowed down. There are ebbs and flows on this blog like anything else. To that end, I recount three posts — all in depth, and reflective in different areas: curatorial practices in hindsight via Germanos’ series of images from New Capital, a post that asks “Are immigrants better at putting deconstruction to work?” from Gene Tanta, and lastly a marvelous, in-depth essay from Meredith Kooi wherein she continues her study of the body and performance. Stay tuned next week, on the other side of this holiday, for more accounts of summer.
Chicago ART IN PICTURES comes to you this week from Paul Germanos, who offered a reflective series about New Capital’s curatorial project:
Six months earlier, the proprietors of Chicago’s New Capital Projects, Ben Foch and Chelsea Culp, began a twenty-five day round-the-clock closing event for their gallery. Foch and Culp had, from the outset, planned a limited, two-year run of public exhibitions at their venue. And having reached the end of their finite schedule they threw open the doors to everyone interested in one last collaborative endeavor entitled “24HRS/25DAYS.” Whither came the funding for such a spectacle? In 2011, the Propeller Fund announced that Foch and Culp were recipients of a 6000 USD award.
Rather than being a survey of contemporary programming, this installment of Chicago Art in Pictures is a historical offering. If New Capital Projects’ success (and it was a success) seemed contingent upon its engagement with artists, its monetary subsidization, and its relatively brief public existence, then maybe too it was the case that only an informal, ethical consensus allowed for a momentary sort of Utopia within the city’s crumbling West Side.
This just in: Poetry is Dead, or so says our poet-in-residence, Gene Tanta. Writing from Bucharest, he asks about the distancing affect of second-languages:
To strategically essentialize based on my experience, I would agree that ESL poets see and hear English from the outside as a strange and awkward medium because learning to communicate with a new language demands more sensitive attention to its materiality than it does for native speakers. The shock of the idiomatic phrase delights the foreign tongue because the foreigner hears (as does John Ashbery) in the wisdom of slang and clichés the horded culture of a people, a zeitgeist or an essence of a place in time, a myth of origin. The foreign poet takes delight in these loaded everyday dictums and listens with his tongue.
Meredith Kooi writes about the “Live Dancing Archive”:
Jennifer Monson premiered her latest evening-length performance Live Dancing Archive at The Kitchen in New York’s Chelsea neighborhood for a two-week run February 14th – 23rd, 2013. The project Live Dancing Archive comprises three components, which consist of three different archival practices: dance, video, and digital archive. The “Program Notes” for the performance states that “Each of these captures how bodies hold, transmit, and convey experiences and understandings of ecological systems as they relate to human movement through the specificities of their medium.”  Monson’s work explores the ability of movement itself as an archival practice; she is interested in the particular capability movement has to archive, record, and store the ecological systems that we experience.