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.
Mary Jane Jacobs covered a lot of ground, as she reflected on an a Grant Kester essay in Engagement Party: Social Practice at MOCA, 2008-2012, and interviewed Kyungwon Moon and Joonho Jeon. The biggest moment for me comes at the beginning of Jacobs’ post, when she announced that TAMMS Super Max Prison was officially closed on January 4th of this year, in no small part due to the hard work of artist Laurie Jo Reynolds who took up residence at the Sullivan Galleries this past fall. Abby Satinsky goes on to provide a bibliography for “Creative Placemaking,” while musing on the complicated scenario artists are faced with as they move into and revitalize depressed neighborhoods, a subject discussed at length in a recent conference, The Art of Place-making.
Jeffrey Songco interviewed performance artist Renne Rhodesabout her background in dance (among other things) during which they discuss Rudolph Laban’s “Labnotation” — as a means to score dance moves — an image of which you’ll see above. As I have been thinking a lot about transcription lately, and since so many of this week posts focused on the transmission of knowledge or experience, this seemed like a particularly lovely moment. The image of those static, abstract footprints(?) have been in my head every since. That they would somehow convey movement in time and space is beyond me. Sam Davis follows suit with a suite of videos that try to articulate what FUNK really is — namely “it’s about juicing a feeling.”
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.
January 18, 2013 · Print This Article
I came on as the Managing Editor of the Bad at Sports blog about a month ago. It’s been an exciting turn and I hope to do well by it. A few people have asked what my vision going forward is, and I thought I might say something about it here. I hope to continue reflecting on the dynamic energy in Chicago’s contemporary art world while connecting to conversations and aesthetic agendas in other cities and disciplines. That agenda was set in place a while ago and I believe I can continue to guide and focus that intention. There is room for experimentation in that vision, which seems necessary to me. Bad at Sports has never presented a tidy, singular package and as such, I believe it would go against the nature of the project to filter content and tone through a single, editorial lens. Its roots in independent, DIY and Punk Rock collectivism remain at the heart of the project’s vitality and the blog is a platform for unique and individual voices that pass through the subject of contemporary art and culture. As such it becomes a nexus of concerns and responses to culture at large. That is something I hope to preserve under my stewardship. As an artist-run forum, Bad at Sports has the unique capacity to reflect on a host of subjects, exposing the intellectual, aesthetic and social networks that define and subsequently influence cultural production. I believe it is our job to explore and discuss the contexts we inhabit. In doing so, we further establish a living touchstone and future archive of contemporary discourse.
Some changes should be apparent already — others will fall into place like pieces of a puzzle in the coming months. The process is organic, but I’ve been trying to set up a casual, thematic architecture that unfolds over the course of a given week. Eventually, I hope to schedule two posts a day, one before 2pm and one after. Built in to this, is room for special occasions and guest writers — those posts would either go live in the evenings, or fill in existing gaps. To that end I’ve been inviting a number of new writers, many of whom I have admired for a long time.
Here is something of a loose schedule:
Mondays: Essays and reflections from old favorites Jeriah Hildewin, Shane McAdams and Nicholas O’Brien — writers who have been posting with consistent dedication. In addition, I’m excited to announce a new bi-weekly column by Dana Bassett, whom you may know for her ACRE Newsletters.
Tuesdays are dedicated to three subjects: Performance, Social Practice, Language (or the performance thereof) and Object Oriented Ontology. Confirmed participants include longstanding contributor Abigail Satinsky and Mary Jane Jacob (Social Practice), Anthony Romero and João Florêncio (performance), Gene Tanta (language), Robert Jackson (OOO).
On Wednesdays, we will read about artists and art in other cities. The following writers will post on rotation: Jeffery Songco is covering the Bay Area, Sam Davis continues to represent Bad at Sports’ Los Angeles Bureau, Sarah Margolis-Pineo is writing about Portland. Juliana Driever will be relaying posts, interviews and artist profiles about New York, and then we’ll bring it back to the Midwest with Kelly Shindler’s dispatch from St. Louis, and Jamilee Polson Lacy writing about Kansas City.
Thursdays herald our illustrious Stephanie Burke’s Top 5 Weekend Picks and a new monthly contribution from author/translator Johannes Göransson whose writing you can also find here.
Fridays have been set aside for art reviews and artist profiles with contributions from Danny Orendoff, Monica Westin, Abraham Ritchie and myself.
WEEKENDS will feature a range and flux of the above, plus Brit Barton’s Endless Opportunities, cultural reflections and short essays by Terri Griffith, continued posts from Jesse Malmed, in addition to a monthly contribution from the newly confirmed Bailey Romaine and Adrienne Harris.
My last note is this — there is room in this schedule for additional posts, posts that would feature special events, festivals and conferences in the city. That space would also be available to, at times, connect the blog and the podcast. As a first indication of this, we will be highlighting IN>TIME, a performance festival that is going on as we speak, from January until March.
Otherwise if you have any comments, suggestions or, even guest posts you would like to submit, please feel free to contact me at: firstname.lastname@example.org
Everything I’ve read about Berlin-based painter, James Krone’s, recent exhibit Waterhome centers Krone’s practice around an empty aquarium. The aquarium in question, however, is not present in the exhibit itself. Instead you’ll find a series of paintings hung on the wall, a folding screen dividing the room that is similarly composed of paintings and a stack of paintings face up on a plinth. These monochrome works seem at first either black or white. At first they appear unpainted, as though they were salvaged from a musty basement and hung as testaments of mold and unforgiving sunlight. The marks on the canvas seem to have grown over pure blankness, or pure darkness — like intrusions of time and environment. Slowly, upon closer inspection the range of color becomes apparent, the areas of bleaching and stretch marks conspire to create a cohesive, aesthetic experience. The image of a tank collecting algae is tied in with this work, and I kept asking myself how it — with its self-generating, dynamic ecosystem — connected to painting, especially when these paintings speak so directly to minimalism, and abstraction. Waterhome opened this past Saturday and will be up until February 2nd at Kavi Gupta Gallery. All images courtesy of the gallery.
Caroline Picard: I am interested in the relationship between your paintings and this fish tank — an object that seems present in everything I’ve read about your work, even while it is absent from the physical exhibition space. Without the fish tank, I experience your paintings as these lovely, subtle color fields that reflect back on a collective/historical painting conversation — your works strike me as non-painting paintings, almost. They have been crafted in such a way as to seem like canvases left in a damp basement for an extended period of time — flecks of paint look like tiny blotches of mold peppering the surface. And yet, by incorporating this fish tank, even as a (non-present) totem of the work, your paintings engage the natural world as well. I have started to fixate on this fish tank —What is its relationship to your paintings? Does it function as a muse of some sort? Or does it have a more direct relationship to your painting process?
James Krone: The fish tank was something that I had, was given as a gift at one point because I had wanted a pet lobster. I had some miscommunication with the electrical company at the time and my power kept going off. I was worried that if I put a lobster in the tank and the electrical company turned off the power again, the lobster would die. Also, I realized what a lot of work it would be to maintain a salt water tank. Instead of getting rid of the tank I filled it with water and put it on a table in my apartment and decided that that was enough. I couldn’t tell if it was a sculpture or if I was just keeping water as a pet but I found it somewhat fascinating and it didn’t take any effort to have it there. It was visible and transparent, recycling its qualities through an electric filter. It wasn’t very long before algae started to grow in the water, a rather delicate layer of soft velvety chartreuse. I’ve never really thought of the algae as nature, primarily, so much as an inevitable form of production that was filling a void while simultaneously articulating my incapacity to maintain either an illusion of emptiness or a consistent object. I’m often seduced by points where assumed binaries falter and merge back into one another.
The accretion of the algae persisted and would get quite thorough, creating moments of total opacity and then it would die, or do something that appeared to be entropic, and just collapse off the sides of the tank in sheets of fibers. The process would repeat itself. It seems to be a form of decay but in fact its an active, matter subverting an otherwise sterile space. I admired the mindless production of its cycle and the revolutions of transparency and opacity, persistent and hungry yet apparently neither progressive nor resolute. It is difficult to say whether the algae was a subject coming into being, a subject arrived sui generis or something that was destroying the subject. I think that the paintings work in this way, too.
CP: It sounds like you see a process of painting in the aquarium’s inherent, or natural, process — can you say more about it? How are those conversations wrapped up in one another for you?
JK: I think of the aquarium’s relationship to painting as being about the quotidian and transfiguration, being as a form of continuous maintenance, more than I think about it as nature. Or what is natural? A fungus that eats plastics was recently discovered in South America. I guess I see nature as the incomprehensible totality of everything and just shy away from the references that get associated with nature or the natural (organic, etc…) as they seem to suggest a necessary idea of the unnatural, that I can’t accept.
Maybe if this idea of the unnatural were really just a prudish stand in for perversion then I’d have an easier time dealing with that.
Painting is a thing a person can do quite easily but it will most likely happen in an empty or undetermined space because it isn’t a solicited activity, if it’s of any value. There is no proper or prepared place to make a painting or art because no one is initially asked to do so. If I wanted to be a nurse or make sandwiches for people, there are rooms for me to go to that would be readymade. To make paintings I have to go get an empty room and bring my things there and the person who rents it to me probably says, “Don’t get it on the floor.”
CP: You directly speak to the idea of entropy in the Waterhome exhibit description. I want to say this connects somehow to the blank canvas, or the empty fish tank. That these blank spaces inevitably fill up and get dirty. Is this where you are locating entropy? i.e. the fact that “the purity of the void” will be compromised marks a sign of failure? I’m interested in this idea because I feel like it’s somehow based on a philosophical premise of your own, namely that something clean and clear and empty is an idealized state; the addition of mold/small flecks of green color, scuff marks, the apparent bleach of the sun, or errant stretch marks is the function of dilapidation. But you could also think of mold is an additive growth, a positive, productive transformation. And the signs of age and dilapidation on your canvases are fabricated by you — which also seems additive. That’s a rambling way of arriving at my question: How do you think about entropy as a painter?
JK: I think it does speak of entropy. Maybe it’s also a rejection of the notion of entropy. Is entropy anything more than an effect that articulates… what? A disappointment with the impossibility of nothingness? Of permanence?
I don’t know but I don’t like to think of painting on a canvas as going somewhere so much as doing something.
Each painting does end, though, and working on a single painting forever would make it seem far too important.
This thing of dirty is interesting to me because on one hand I do feel at the moment I first touch a blank canvas that I’m somehow soiling it… but claiming a blank canvas is even worse than ruining one.
The term “purity of void” has more to do with a criticality of the notion of purity than it does with championing the fantasy of the void. It’s exposing that there would be this idea of a void or an anti-space and that in the totality of this emptiness, a certain purity would be attained. I see the void as the imaginary friend of the puritanical; some evidence that the desire for the pure is motivated by death drive.
There is a promise of clarity in a glass box and that is probably just an illusion. It’s cruel because we know how to yearn for that illusion. It performs a job until something else arrives and that arrival ruins the illusion. This is both a relief, as it cancels this yearning, and a disappointment, as it cancels this yearning.
The death of a false promise is still a loss.
CP: I am also interested in this idea of choreography and exposure — as I understand it, you apply layers and layers of washes to the canvas and the washes respond to a laid rabbit glue surface, settling permanently in some places as they wash away in others. Is that process where you locate this idea of dance?
JK: The canvases are sized with several layers of rabbit skin glue and then I paint a single wash of paint on them daily. The colors I use are based on the colors produced in the aquarium; viridian, sap green, alizarin crimson and lemon yellow.
This accretion of the layers of paint negates the color of those preceding and the canvas builds towards an ostensible black. Eventually, a section of the sizing on the canvas wears down and begins to resist saturation and even degrades back towards a lightness. I take either occurrence as a signal to stop. It’s an exposure of the painting in that it destroys the painting’s potential to be a monochrome. I either leave the canvas like that or I unstretch it and reverse it. The paintings that get reversed seem to have something more like a personality because of the moments where the support has faltered and paint has bled through. But as much as you see the points where the color has come through you are also seeing the places where it has not.
It isn’t a terribly complicated process, rather deskilled, if peculiar and specific.
The choreography is knowing what I will do beforehand and remaining more or less consistent to that, intending that the repetition of the behavior avoids a narrative of progress.
I’d hope that the paintings are anachronistic, not in the sense of timelessness but in that they might deny tense.
CP: One of my favorite pieces in your exhibit at Kavi Gupta is the stack of canvases — I loved the way you transform the painting into a sculpture and by stacking them emphasize the painted side or edge — a typically marginalized space where accidental drips and stains exist like a dirty closet in a house or dorm room. But you emphasize that side and cover the faces of many paintings. Can you talk a bit about how you decided to stack these works? And did your process of painting change when you anticipated stacking them?
JK: The sides of these paintings were always attractive to me because they look the same regardless of which side of the painting has been stretched. Last February in Berlin I made a different exhibition with this work that included a coffee table consisting of a stack of square Waterhome paintings elevated on rather feeble legs. The dressing screen in this show made that option seem too much like a literal conversation between painting and furniture but I wanted to retain some kind of focus on what is usually, as you said, a typically marginalized space.
There was some playing around with that piece for a while, verticality, horizontality, what a pedestal does or does not do or infer, etc… I felt that it had to be a piece in itself more than just an apparatus to describe the other work. I think it becomes a grammatical elongation of those margins by collapsing the physical space between them.
The process of the painting really doesn’t ever change but different consequences seem to arise as I continue to make them, whether or not I want them to.
We are super excited about a couple of things…
In the beginning of December, Caroline Picard began acting as the Managing Editor for the Bad at Sports blog. As you know she has been writing for B@S for about two years now and we are super excited to have her taking on this roll. The blog has made tremendous strides since Meg Onli jump started it in 2008. In the coming months — particularly in the month of January — new contributors will begin to emerge as we start to see her carve out a new monthly rhythm. She will tell you more about it as she gets rolling.
And while we are looking back to those magic days with Meg we must note that her Black Visual Archive (http://blackvisualarchive.com/) picked up a Warhol Grant. Hell Yes! Meg, we could not be more proud. More from her site here… http://blackvisualarchive.com/bva-awarded-arts-writers-grant/ (sorry it took us so long to post something.)
Duncan and Richard.
In the spirit of the holidays, I thought I’d post something a little on the playful side: a comic I recently revised while thinking about the relationship between text and narrative, how we propagate myths as a society and (even) how drawing can be a kind of dramatic reenactment.