Epic Chicago cultural legend Anne Elizabeth Moore joins Duncan’s Columbia College class “the Late, Late Afternoon Show” for an invasive journey through her history. Abigail Satinsky joins Bad at Sports for a farewell Chicago as she confesses her move to Philadelphia.
Moore the warrior of comics, punk rock, anti-capitalism, journalism, and Cambodia’s future, recounts her world.
Janet Cardiff’s Forty Part Motet is composed of forty speakers arranged in eight groups of five, configured as a large oval facing each other in the center of the room, and resting on stands so they are roughly just above eye level. The Motet, as Cardiff referred to it in our conversation, is a reworking of the English composer Thomas Tallis’s Spem in Alium (1570), which translates as “Hope in Any Other” and is sung in Latin by a choir of forty voices. The composition is arranged so that the choir, like the speakers, is divided into eight groups of five singers; each group consists of a soprano, tenor, alto, baritone, and bass. The groups alternate singing: first one, than another, sometimes alone, and at a few moments, all together, rising in a crescendo that breaks open the room to a place beyond the physical world. To hear the Motet in its entirety is profound. Spem in Alium is considered one of the greatest works of English music. The Forty Part Motet is equally a contemporary masterwork. It was a privilege, then, to sit down with Cardiff on November 12, 2015, to speak about her practice. – Patricia Maloney
Janet Cardiff lives in British Columbia, where she works in collaboration with her partner George Bures Miller. The artist is internationally recognized for immersive multimedia works that create transcendent multisensory experiences and draw the viewer into often unsettling narratives. Cardiff and Miller’s work has been included in recent group exhibitions and biennales such as Soundscapes at the National Gallery, London, the 19th Biennale of Sydney in 2014, and dOCUMENTA (13). Representing Canada at the 2001 Venice Biennale, Cardiff and Miller received the Biennale’s Premio Prize and Benesse Prize. Recently, the artists debuted new site-specific commissions for Fondation Louis Vuitton, Paris, the Menil Collection, Houston, TX, and the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
The Forty Part Motet is on view at Fort Mason Center for Arts and Culture, in San Francisco, through January 18, 2016; it is co-presented by the San Francisco Museum of Modern Art.
This week: Amanda believes the children are the future, she thinks you should teach them well and let them lead the way. Amanda wants to show you all the beauty you possess inside.
Noah Lyon decided long ago, never to walk in anyone’s shadow, if he fails if he succeeds, at least he’ll live as he believes.
No matter what we take from you, fine listeners, you are in the art world, you abdicated your dignity second semester your freshman year, who are you kidding.
Holy shit those lyrics work really well here.
December 8, 2015 · Print This Article
It is that time of year again where we think back on all the great experiences and maybe not so great experiences we’ve had this year. We do so with gratitude for the learning and thanks for the love and it is with those two ideas in mind that we humbly suggest that you consider supporting these two great endeavors.
This Saturday, December 12th, is a fundraiser for The Green Lantern Press, a nonprofit I started in 2005. At the time, it was easy to turn a loft apartment into a gallery and, with the help of a lot of friends, start publishing books. Since then the organization has grown into something more formal and deliberate. In 2007 we got nonprofit status and just last year found a permanent home at Sector 2337, a newly rehabbed storefront bookstore/bar in Chicago’s Logan Square. The press continues to publish books, produce exhibitions, and organize regular public events at Sector with visiting and local poets, artists, and intellectuals. It is a vibrant place and I feel incredibly fortunate to be a part of it. (To see what it looks like, go here.)
In all of its endeavors, The Green Lantern Press platforms a rich, multi-disciplinary discourse full of free public events that encourage intellectual and cultural discussion in a non-institutional setting. Within that model, it is nevertheless committed to paying contributing artists and authors — a goal made possible with help from our audience and community. I’m sure you’re fielding any number of requests like these this time of year, but your support would mean the world.
Despite its ten year commitment to art, literature, and publishing, this is the first fundraiser the GLP has had in seven years, and only the second fundraiser in the history of the organization. With that in mind…
We hope we can all find ways to support these two great endeavors.
and frankly without the GL you would never have been treated to this magical spinning Marx Head by Christian Kuras and Duncan MacKenzie…
This week, Mumbai-based artist Jitish Kallat returns to Bad at Sports, this time from San Francisco, where he sits down with Patricia Maloney. Listeners may remember Kallat’s first appearance on the podcast on the eve of the opening for his large-scale installation, Public Notice 3 (2010-11), in the Fullerton Hall stairwell of the Art Institute of Chicago.
Kallat, one of the most prominent figures of contemporary Asian art, works across a variety of media, including painting, sculpture, photography, installation, and video. He was the curator for the Kochi-Muziris Biennale, India in 2014. This year, Kallat has had several solo exhibitions, including Jitish Kallat: Public Notice 2, at the Art Gallery of New South Wales in Sydney. His Paris exhibition, The Infinite Episode, opened at the Galerie Templon in September 2015. Kallat’s large permanent public sculpture unveiled in Austria in October 2015.
His solo exhibitions include Epilogue (2013-14) at the San Jose Museum of Art; Circa at the Ian Potter Museum of Art, Melbourne, Australia (2012); Fieldnotes: Tomorrow was here Yesterday at the Bhau Daji Lad Museum, Mumbai, India (2011); Likewise at Arndt, Berlin, Germany (2010); The Astronomy of the Subway at Haunch of Venison, London, UK (2010); Aquasaurus at the Sherman Contemporary Art Foundation, Paddington, Australia (2008) and Lonely Facts at the Kunsthalle Luckenwalde, Luckenwalde, Germany (1998).
Kallat has participated in major exhibitions, including: India: Art Now at the Arken Museum, Ishoj, Denmark (2012-13); Indian Highway IV at MAXXI, Rome, Italy (2012) and at Musée d’art contemporain de Lyon, Lyon, France (2011); The Empire Strikes Back: Indian Art Today at Saatchi Gallery, London, UK (2010); Chalo! India: A New Era of Indian Art at Essl Museum – Contemporary Art, Klosterneuburg, Austria and at Mori Art Museum, Tokyo (both 2009), as well as Indian Highway at the Serpentine Gallery, London, UK (2008-09); Die Tropen. Ansichten von der Mitte der Weltkugel at Martin-Gropius-Bau, Berlin, Germany (2008); Urban Manners at Hangar Bicocca, Milan, Italy
(2007) and Century City at Tate Modern, London, UK (2001).