A graphic, editorial overview of art, artists, and visual art events, found in and around Chicago over the course of the preceding month. All artwork copyright original artists; all photography copyright Paul Germanos.
Thelonious Elliot and Wray Morgan Herbert-King @ ACRE Projects
Above: Theo Elliot at left; Morgan Herbert-King at right; opening night at ACRE Projects.
Thelonious Elliot and Wray Morgan Herbert-King
“Moving a Hole”
January 20 – February 4
1913 W. 17th St.
Chicago, IL 60608 http://www.acreresidency.org/
January 11 – March 1, 2013
Harold Washington Library Center
400 S. State St.
Chicago, IL 60605 http://www.dmitrysamarov.com/
Goshka Macuga @ Smart Museum of Art
Above: Exhibition closing and curator talk (MCA curator Dieter Roelstraete, left, and Smart curator Stephanie Smith, right) January 13, 2013
“Of what is, that it is; of what is not, that it is not,” panel 2
(wool tapestry from photo collage, approx. 11 x 38 feet, half of diptych)
December 13, 2012 – January 13, 2013
Smart Museum of Art (lobby)
5550 S. Greenwood Ave.
Chicago, IL 60637 http://smartmuseum.uchicago.edu/
Robert Chase Heishman @ Roots & Culture
Above: Robert Chase Heishman with artwork at Roots & Culture, opening night.
Robert Chase Heishman
January 18 – February 16, 2013
Roots & Culture
1034 N. Milwaukee Ave.
Curated by Eric May, Stephanie Cristello and Allison Glenn
Artwork by Robert Chase Heishman, Jessica Labatte, Alistair Matthews, and Liz Nielsen http://www.rootsandculturecac.org/
R. H. Quaytman @ The Renaissance Society
Above: Peeking inside the piece “Public Space/Two Audiences”
R. H. Quaytman
“Passing Through The Opposite of What It Approaches, Chapter 25″
January 6 – February 17, 2013
The Renaissance Society
5811 S. Ellis Avenue
Bergman Gallery, Cobb Hall 418
Chicago, Illinois 60637 http://www.renaissancesociety.org/
Deborah Baker @ Packer Gallery
Above: Cotton on linen, embroidery, under glass, framed.
Lauren Payne and Erin Washington
“As Above So Below”
January 25 – 31, 2013
Johalla Projects / ACRE Projects
1821 W Hubbard, Suite 209
Chicago 60622 http://www.johallaprojects.com/
Harvey Moon @ Hauser Gallery
Above: Harvey Moon with “drawing machine” installed in gallery, opening night.
January 25 – March 22, 2013
230 W. Superior St.
Chicago, IL http://www.unanything.com/
Paul Germanos: Born November 30, 1967, Cook County, Illinois. Immigrant grandparents, NYC. High school cross country numerals and track letter. Certified by the State of Illinois as a peace officer. Licensed by the City of Chicago as a taxi driver. Attended the School of the Art Institute 1987-1989. Studied the history of political philosophy with the students of Leo Strauss from 2000-2005. Phi Theta Kappa and Phi Kappa Phi. Motorcyclist.
Following a preview launch at the closing of 24hours/25days at New Capital, Forever and Always, the joint curatorial venture of Billy Joyce and Brook Sinkinson Withrow debuted at their Pilsen location last Friday night with a screening of Dreamgirl by Sarah Condo work and a musical performance by Younger.
Forever and Always curators Joyce and Withrow by Matthew Joynt
While the Forever and Always main focus is on programming (they have a lecture by Willy Smart scheduled for March 5th), the space features an ongoing “exhibition” of artwork as well. Whether or not this is a clever ploy to decorate the curators’ apartment remains unclear.
“Its not like someone is trying to hide that it’s an apartment. The art is just where it is. It’s like a return to not giving a shit.” – unnamed source (Michael Kloss)
They Won’t Roll Themselves
Can’t get enough irreverent internet in your tumblr digest? Is The Jogging becoming too relevant for your taste? Enter #NYCartlife. Just a couple SAIC to NYC transplants and their NY Advanced Painting analogs posting selfies and bad art history jokes. #thankmelaterorneveritscool
At last weeks opening for #WITH at ACRE Projects, exhibiting artist, Kristina Paabus, introduced What’s the T? to “#SOYEAHDUH” and we are forever grateful. After doing a little researchWTT? learned the blog was created by Wicker Park’s Lisa Frame. Frame is also the creator of “Mugshot-Monday,” which is unfortunately just a bunch of people and their coffee cups.
The legislation furthermore provides this blogger with the perfect context in which to repost the recent Temporary Alliegance flag by h.melt. The installation of the flag pole outside of UIC was concieved by Philip von Zweck and functions as an opportunity for others to exercise freedom of expression.
After slamming several prominent galleries, curators and artists in his article “Friends Curating Friends” for New City, local art critic and curmudgeon, Pedro Velez, took to Facebook last week to gloat over his own accomplishments of curating exhibitions and making artists cry while simultaneously chastising more victims.
LVL3 was unharmed.
Velez’s heart failed to grow three sizes that day.
Terry Myers offeres one of the most not-crazy responses to Velez’s article on the illustrious and longwinded Foumberg thread:
What could Nadar have been thinking when he offered his photography studio for his friends to have their first show in Paris? And what about the activities of all of those friends at the Cabaret Voltaire? Not to mention that pointless “Freeze” show in London. Shocking, but thankfully none of these artists had to call themselves curators.
Terry R Myers
February 5 at 1:28pm (7 likes)
All images taken during the opening of the The Couples show at Heaven Gallery last Friday night, unless obviously from @richforever.
Thorne Brandt & Lindsey Regatta
LVL3 turns 3.
Gallery finally lives up to its name
LVL3 is turning three(3) years old and to celebrate, curators and co-directors, Vincent Uribe and Allison Kilberg, are showing five artists who have been with them from the beginning: Michael Hunter, Paul Kenneth, Easton Miller, Liz Nielsen, and Kate Steciw.
Proximity Magazine is now accepting proposals for the upcoming edition on the intersections of art, food, politics and social practice. Proposal deadline is is March 15, 2013. Completed texts and works are due by April 15, 2013. Issue release will be this Spring at Version Festival 13.
Full information here: http://proximitymagazine.com/2013/02/call-for-works-proximity-number-11/
It’s been a busy week both on and off Bad at Sports. A number of our contributors were at CAA and I, for my part, took my hat (and new best friend) on the Carl Sandburg train to Macomb, Illinois for an overnight trip to Western Illinois University. I happened to give a talk there about (among other things) transcription and translation which no doubt has colored the way I’m thinking about the last week on Bad at Sports. In looking back and taking stock on what was posted, so we ready ourselves for the new week ahead with its ever lengthening days. My sense of this week is that it was about windows and frames and the transmission of ideas. It’s about education and the power that stories have over us, to affect change and muddy whatever assumptions might be otherwise taken for granted.
Tonight, I am excitedly headed to Every house has a door’s performance at Links Hall, They’re Mending the Great Forest Highway. I’ve seen an iteration of the piece once already, and am looking forward to seeing it again. Goulish posted an essay about it here last Sunday, including a couple of amazing youtube videos with some excellent dance moves.
The week began with Jesse Malmed’s interview with contemporary filmmaker Fern Silva. Among other highlights, Silva talks about teaching film. “Experimental films that were made 50 years ago can be as fresh as films being made now in a classroom setting. I like to show films that I found inspiring and share stories about the filmmakers who we’re watching. For example, when I show Meshes of the Afternoon, I’ll tell the story of when Maya Deren threw a fridge across the kitchen while she was possessed in her West Village apartment that Brakhage writes about in Film at Wit’s End.” (Reconfirming my perhaps over zealous love for Deren). There is also a lovely moment, so brief as to almost be missed where Fern states that structure, (non-)narrativity and collage are all the same to him. Monday went on with another description of class dynamics from Shane McAdams. There was a subsequent dispatch from Gene Tanta on Tuesday, where he described a performance workshop with Irina Botea and 13 other performers. He asked each of them (and got five responses) “What does your work protest?” I reposted one response
“Our work focused on the impact of this replacement (of old windows with multiple-layer double-glazed windows) on the people who purchase them. In Romania, this transition is advertised and widely acclaimed as being more than just necessary – but the defaultupgrade, perfect for every house. While questioning this widespread idealistic belief that Termopane are the right (almost the only valid) choice, we pursued in deconstructing its “promises”. And since you referenced Adorno’s claim that art documents history, one of the key aspects this work documented is how the perfect isolation, the safety promised by the Termopane comes with an unexpected turn: isolation means protection, security, intimacy but it also raises questions regarding responsibility and anxiety. These new guidelines of the private space influence people’s social and psychological behaviors, by means of a rather unnoticeable slow process of adaptation.” Ioana Gheorghiu
The way that windows and cameras and frames tie in together always makes me happy.
Laurie Jo Reynolds, “Tamms Year Ten Campaign Office,” SAIC Sullivan Galleries
I rounded out the week with a post about Sofie Calle’s Address Book (which is now available in English). She seems always to be providing windows into private worlds, activating the aura of an individual, in this case Pierre D. who has recently passed away (thereby enabling her to release her findings about him). It seems like a macabre kind of dictionary in a way, and reminds me of Graham Greene’s biographer who was allegedly hired by the author to follow in his rather debauched footsteps, at the expense of the biographer’s family. I ended the week with a post about a sound performance at LAMPO by Hong Chulki and Choi Joonyong, — which like so many of LAMPO’s events effectively blew my mind. Maybe even more than this little red comb which I purchased for a mere 5cents at a Macomb antique mall.
By the time I got there, it was standing room only. Everyone crowded around two small tables under minimal but nevertheless theatrical light. We stood this way, waiting for Korean sound muscians Hong Chulki and Choi Joonyong to play their experimental music sets. We stood in the converted ball room of a once-great mansion in Old Town. Of course the mansion is still grand, but instead of providing residence to humans it is the home base for The Graham Foundation — an organization that dates back to 1956. Dedicated to the architecture and its role in the arts, culture, and society, The Graham Foundation offers “project-based grants to individuals and organizations” while producing public programs. I had come to see one of LAMPO’s productions — one of many in an on-going experimental sound series; in order to access the ballroom, however, I had to pass through a stunning exhibit of Soviet Modernist Architecture installed in the rest of the mansion’s first and second floors. The buildings in this series are so strong and immovable in their position against the sky — and would prove to be an excellent foil to the immaterial, unfolding sequence provided by Chulki and Joonyong.
Richard Pare, Workers Club in Surakhany, Baku, Azerbaijan. Leonid Vesnin 1929.
Choi Joonyong and Hong Chulki have been pioneers in Soel’s emerging experimental music scene for the last 15 years. Choi Joonyong started Astronoise — South Korea’s first noise group — with Hong Chulki in 1997. Later in 2000, the pair co-founded an experimental record label, “Balloons and Needles;” they have released a number of records since . Together, this collaborative duo embody a nexus being both community advocates and practitioners who have been called “acoustic explorers” in a “Bermuda Triangle of Sound,” creating “non-conformist, post military service” music.
They sat on either side of two respective tables. Chulki played a record player without a cartidge, running different materials along the player’s sides from what I could see — a legal-sized piece of what looked like metal, for instance — in order to create a small variant whine. Meanwhile, Joonyong used portable music players in unconventional ways — he set up two or three open Discmen and placed small pieces of tape on the spinning, exposed discs. These small tape pieces clicked against one another intermittetnly, until one finally spun off, returning the room to soft discmen whirs. At such times, Chulki’s record player manipulations would emerge as the focal point, underscoring the way these two composers wove a sonic tapestry between them, organically alternating which devices were more prominent. Chulki and Joonyong made use of one another while engaging the spatial acoustics of a given room. Chulki never got up from his seat; he remained like the grounding line or backbone throughout both sets while constantly modifying the sounds he created. Joonyong on the other hand regularly stood up from his seat to relocate sound makers in other parts of the room. It was as though he was building a low-fi surround-sound system. He set up four exposed Discmen with bits of tape on them in the four corners of the room. He unwrapped a spool of tin foil while walking around the perimeter of the room as well, fixing the ends of the foil to speakers with tape. In another instance he pushed amplifiers on wheels down one side of the room, then opened a door and placed the amp on the other side of that door, or rolled a second amp, as it sputtered mechanic drones, down a flight of stairs. Each and every sound — the sound of tape unwinding, foil unwrapping, the sound of footsteps, the gutteral amplifiers, the whine of Chulki’s ongoing centrally located soundscape — heightened my awareness of the room. Although we were all in the same room, the strangely muted affect of this improvised composition created the illusion of distance and depth. Chulki’s manipulations reminded me of a distant construction site (the whizzing of concrete getting sliced by an electronic, saw) heard through the window of a sky scraper. Joonyong’s flicking bits of tape stuck to the portable CD players clicked against the strips of foil he had laid out, conjuring for me a a nearer sound like that of a half-broken fan. I began to get an acoustic map of a space that did not physically exist but was conjured by their audio web. Its delicate detail heightened by the overall nonchalance of the performers themselves. Chulki took out three electronic hand massage devices and first set them up on his table, until one pushed a Discman onto the floor before falling to the ground itself. He then walked these small, plastic vibrators around the room, tucking one in the space between an inner and outer window, or behind a door. These vibrations, muffled though they were, emanated into the main space, adding another layer of depth. I found a video of this moment, and the friend who posted it referred lovingly to the duo as “The Bas Jan Ader of Korean experimental music,” what likely sums up the embrace of failure, or in this case the pratfall of an electric masseur.