As I mentioned yesterday, there is a great performance festival taking place called IN>TIME. Organized by artist Mark Jeffrey,Â IN>TIME features both international and local artists exhibiting in 14 diverse venues across the city between the months of January and March. Bad at Sports will be posting a mini-series of interviews and essays about this festival, including an upcoming interview with Mark Jeffrey himself. This particular post is dedicated to two concurrent exhibits atÂ threewallsÂ that are also part of Jeffrey’s festival. On January 11th,Â Mary Patten’s performance/sound/video installation,Â PanelÂ opened in the main space.Â Mathew Jinks’ began screening his new 73 minute, single-channel HD video,Â The Unreliable Narrator,Â in the project space. While these artists are distinct from one another, exhibiting independent projects, I was interested in facilitating a conversation between them, particularly as both negotiate film, performance, history and collaboration. These exhibits will be on view until February 23rd, with an artist talk from Jinks on January 31st at 7pm,Â as well asÂ a performance,Â SCHIZO CULTURE: A Collaborative Reading, and publication release of the catalogue associated with PANEL.Â On February 9th, there will be another performance,Â SCHIZO PANEL,Â at 7 PM.
Caroline Picard:Â You both call on speculative fiction in your respective projects. What does it mean for each of you to employ the fantastic?Â
Mathew Jinks: The idea of alternate histories is very resonant for me, not necessarily in the reconstruction of various alternative spaces, but aiding in imagining that sense of an â€˜otherâ€™ space that can be inhabited by a narrative. Fictive narratives do not interest me. They seem too comfortable as a source of abstract inventionÂ in some way,Â which I see as an escape from reality and a dead end street; a more complex and evocative device for me is to sow seeds of doubt, to introduce situations and characters with a set of dynamics which have been loaded from the start and see how they play out. The origination in my practice was at the point of departure from personal histories and the evolution of expansive political histories.
Mary Patten:Â Mathewâ€™s articulation ofÂ alternate histories,Â his desire toÂ â€œsow seeds of doubt,â€ the leaking or trespassing of â€œpersonalâ€ histories into the territory of â€œthe politicalâ€ are all-compelling to meâ€¦ and describe sensibilities or impulses that have shaped my own work for many years. Itâ€™s very difficult, maybe even pointless, to draw an easy divide between â€œfactâ€ and â€œfiction,â€ despite persistent claims of â€œobjective journalismâ€ or â€œscientific truth.â€ This is well-trodden territory: what â€œweâ€ (in the most capacious sense) collectively and cumulatively â€œknowâ€ is subject to constant revision and reconstruction. We understand that â€œfacticityâ€ doesnâ€™tÂ equal truth, and that what passes as fiction is not a series of falsehoods. One of the oldest cultural practices, the oral tradition â€” often taking the form of what we call fables or myths â€” has been a crucial element in constructing â€œhistory.â€ And yet â€œtelling storiesâ€ is still a euphemism for telling lies.
â€œSpeculativeâ€ introduces the possibility of wonder, a wandering imagination, the work of invention to heal or bridge inescapable gaps in any historical record. It is a kind of affective, archaeological process to make empirically un-provable connections between obscure, unknown or little-known histories. â€œSpeculativeâ€ need not connote the fantastical, however â€” at least not in the â€œspectacularâ€ sense. These words are funnyâ€¦ so interconnected, but full of paradoxes.
In the case ofÂ Panel,Â I was drawn to an obscure transcript, photocopied many-times over, given to me by the only participant still living, my friend Judith Clark,Â herself a survivor of a barely-remembered radical history, serving a 75-to-life sentence in Bedford Hills prison in New York State. (Judyâ€™s story deserves its own independent telling; I would ask readers to please check out judithclark.org.)
Judyâ€™s memory of the â€œpanel on prisons and asylumsâ€ at Schizo Culture is that the three men â€“ Foucault, Harp, and Laing â€“ did most of the talking. Thatâ€™s contradicted by the transcript, which is itself very odd, characterized by breaks and ellipses. We know from SylvÃ¨re Lotringerâ€™s accounts that the entire Schizo Culture conference was rife with outbursts and interruptions, including this panel discussion, although thatâ€™s not evident in the transcription.
In attempting to re-stage a little-known but somewhat exotic event, I wanted to resist any impulse to reconstruct or â€œnarrativizeâ€ the episode in any kind of â€œrealisticâ€ way. I didnâ€™t want a performance designed to dissolve the distance between the â€œoriginalâ€ event and its contents, both very marked by that moment of the mid 1970s, and yet eerily (and depressingly) prescient of our current traumas of the â€œsocieties of controlâ€: diagnosis, punishment, imprisonment, and torture. I didnâ€™t want to blend or unify these four amazing characters and social actors, two of whom (Foucault and Laing) possess an iconicity shimmering with all kinds of aura, with the people reading and inhabiting their words now. I am compelled byÂ bothÂ the â€œconnectsâ€ and â€œdisconnects.â€
CP: You share an interest in collaboration, but also work independently.Â How do you negotiate the role of an author who is also dedicated to fostering relationships in your work?Â
MJ: I have always felt uncomfortable in a lonely practice, with the idea of the studio Artist who appears after years of hermetic work with a portfolio under the arm. I began working for other artists in Chicago because I had always been a part of a DIY scene which to me was about skill sharing and enabling others to achieve their goals whilst you achieved yours, doing this I witnessed the evolution of a work through multiple creative minds first hand and this stayed with me. I introduce performers and artists into my works to have them re-interpret my ideas, for them to take the work in directions unknown to myself or to the work. It is quite stressful in many ways to work with others, although I am not precious about my projects I do have creative demands and I like to try to keep the overall affect of the work under my thumb. In return I try hard to become a tool for them to use, whether I am recording sound as I did for Maryâ€™s Piece, working as a Cameraman for Kirsten Leenars, or doing sound for Melika Bass. I simply try to gel with the process at hand.
The most important elements of my practice that I feel need to be under my control I will do myself, The Unreliable Narrator was shot, edited and mixed by myself, with voiceover recordings, studio shoots, post image production all done in my studio. I decided to use a colorist to step up my game a little and he really did a great job, I wanted some animation work for the chapter titles and again I used a great animator Han Han Li â€” the big key for this work was to employ a Producer, Parveer Singh Sohal. Without Parveerâ€™s connections in India the work would not exist, so that was an integral decision. I needed access. But Parveer is not a Producer, he is a Graphic Designer and so there were many discussions about what I needed and what he was bringing to the project.
MP: Mathewâ€™s discomfort with the notion of a lonely, hermetic studio practice and artistic identity is of course very much in sync with my own ideas, feelings, and historyâ€¦ although not without risks â€”Â losing oneself in the collective, for example. A good friend who shares a similar collaborative history once commented that itâ€™s possible that no one will know or remember that her labor and creativity helped form some of these projects, since individual authorship is so often dissolvedâ€¦ Iâ€™m obviously not talking here about the art worldâ€™s current embrace of â€œrelational practicesâ€ and the career building that goes along with that. But as Iâ€™ve said elsewhere, I continue to be drawn to collaborative ways of working, such as the Chicago Torture Justice Memorials Project, because itâ€™s urgently needed, and impossible to realize by a single or even a handful of authors. Most importantly, collaborations embody the kind of collective labor and passion necessary to any project thatâ€™s trying to makeÂ change.
As you, Caroline, and Mathew make very clear, the project of film and videomaking, like so many art forms, isÂ necessarilyÂ collaborativeâ€¦ Chris Marker makes this point beautifully during the ending credits of â€œGrin without a catâ€ which he dedicates to the anonymous and unnamed artists and technicians without whose clips, shots, sequences, and documents that epic film would have never been realized, seen, or distributed. To that point, I would like to acknowledge the thoughtful labor, participation, and support of performers Darrell Moore, Mikal Shapiro, Matthias Regan, andÂ Mark Jeffery; Directors of Photography Yoni Goldstein and Meredith Zielke; Mathew for such great sound engineering; Alex Brown for assisting with camera; Ilan Gutin for helping with the large prints; and the lovely, hardworking, and brilliant Joey Carr who has worked as producer, compositor, and hardware/software engineer.
CP: You call on various histories, whether philosophical or psychological traditions, fortune telling traditions, Â â€” is it possible to collaborate with disciplines? Or do you think about the way you engage those traditions differently?
MJ: This is a wonderful question; tradition by nature is a stubborn legacy and confronting it head on is an antagonistic strategy. If you lay the threads down together: personal history and its discipline of remembrance, familial oral history, musical traditions as in Jazz, Cheiromancy, Homeopathy, Metallurgy, then these lines will touch and intersect like magnets picking up each other. It is a naÃ¯ve want to reshape these lines to any sort of permanence. I think of Francis Alys work,Â The Collector â€”Â with the magnet on wheels that he pulls behind him collecting metal from the street as he goes â€” the street will fill up once again with shards and paperclips. Francis creates a moment of being present, and itâ€™s this re-presenting and laying down with traditions in new almost aleatoric ways.
MP: I consider myself a visitor, a curious student, an interloper or trespasser in many disciplines, an auto-didact, or rather someone who has learned from many teachers and texts, â€œnegativeâ€ as well as exemplaryâ€¦
CP:Â How do you all think of beginnings and endings? Are those narrative touchstones useful to you?Â
MJ:Â No, I instinctively move away from creating narrative structure, arcs and so forth. I find the idea of conclusion quite arrogant in non-fiction. The episodic device is interesting because it introduces the idea of the â€˜false startâ€™, or the hidden track at the end of an album, or the prologue as in Bergman’s Persona, or â€˜rewindâ€™ in Jamaican dance hall, the stutter. This is why gallery installations are so useful: people enter and leave as they wish; this is a very considered position for my work, the ideal position.
MP:Â There are no real beginnings. Weâ€™re always starting in the middle, picking up someone elseâ€™s traces and tracksâ€¦ For me, in the realm of ideas, relationships, as well as many projects over the years, there are so many interruptions and breaksâ€¦ things are â€œleft for nowâ€ and unfinished or deferred. I find it much more habitual to abandon something, rather than â€œendâ€ it. Like Mathew, I am drawn to the episodic, to â€œfalse startsâ€ and â€œstuttersâ€â€¦ but when Mathew talks about resisting narrative arcs, I think he is perhaps referring to â€œmainstreamâ€ or what we used to call â€œHollywood narrative cinemaâ€â€¦ for me, there are so many wonderful, rich and complicated examples of â€œnarrative fictionâ€ that escape these constraints â€“ the films of Robert Bresson and Chantal Akerman, for example, but also so many more â€“ in cinema and literature, in expanded forms of the essay, in experimental non-fiction and media formsâ€¦
CP:Â How do you conceive of utopia? Is such a thing possible? Is it a condition of being? Or a place?Â
MJ:Â More than a construct, a Modernist ideal, pathological, LSD induced? I never conceive of utopia. Utopia and dystopia to me are devices, but they are not very interesting devices. They suggest spaces of utter happiness or utter sadness and isnâ€™t that a psychological state? Bi-Polar? There is no tension in these extreme spaces and it is too easy to create heroics from such static dynamics. This is exactly what popular culture thrives on. The fine-line-in-betweens, and the slippage that occurs within those minimal gradations is what art production responds to. The Â entertainment industry responds to thoseÂ other extremes. Even in a spiritual sense â€” in Buddhism, for instance, elements are in a balance, whereas in cults, the utopian ideals are offset by the leader sexually prowling its herd for ultimate control. Conceiving of utopia maybe undermines an art making practice? Desire is a more interesting space to work from for me. It has the same goal as utopia â€” the perfect space â€” but it is much more psychologically complex. Desire is fixated on process, and the moment. There is presence in desire without conclusion.
MP:Â Unlike Mathew, I donâ€™t think that utopian impulses can be reduced to mere devices, or that they areÂ necessarilyÂ tied to dangerous heroic narrativesâ€¦ maybe this is just a difference of language, because I find that his conception of desire as a transformative force is very akin to what I would call utopian longings.
Until fairly recently, itâ€™s been fashionable to dismiss â€œutopiaâ€ because of its attachment to so many terrible and failed agendas that promised brave new worlds and then delivered totalitarianisms. We know now that we should dislike and mistrust master narratives, totalities of certainty, and teleological schemes. However, I am drawn to utopian impulses not just because I was formed through my engagement with them â€“ to the point of political lunacy, perhaps â€“ but also perversely because they have been a despised or at best suspect category for so long.
Contemporary social movements and revolts against globalized capital, the fleeting â€œoccupys,â€ the movements of the squares, the queer utopias of so many interesting artists today, all embody what people call â€œprefigurative politicsâ€: â€œBeÂ the change you want to make.â€ The emphasis is on the here and now,Â againstÂ telos, embracing not only possibility, but doubt. Recognizing that we, and all matter, is/are in a constant state of becoming, that small and invisible shifts and changes are always (potentially) occurring, whether or not they are seen or recognizedâ€¦ this is what intrigues and provokes me. Brian Massumi is an extremely useful thinker and writer here.
Paradoxically, thereâ€™s a lot of interest in reclaiming utopian thinking now because of how hopeless and scary the world has become, how reduced and flattened to information, to bits and bytes everything seemsâ€¦ and all the ways that capitalism forecloses the imagination and desire, except as an instrument of and for the commodity, no pleasure outside of consumptionâ€¦ or the deadliness of an actuarial life, with its endless assessment debits and creditsâ€¦
CP:Â What does it mean to come from somewhere? What role does memory play in that reality?
MJ:Â The transition is interesting, to come from somewhere to go to somewhere else, and the translation from one meaning to another. There is a great deal of nostalgia and longing for previous inhabited spaces, especially if you have been formed by them in some way; that complicates memory. A new space can act as a lens from which to view the previous space and this is truly a unique position. You no longer belong to that place but the memories are attached to you, somehow the filtration from one’s current position gives a sober screen. I think it is essential but painful, and again that tension of knowing you need separation while at the same time being in touch with a sense of longing is the drive for this â€˜otherâ€™ space to be imagined in my work.
MP:Â Again, we return to the problem of originsâ€¦Years ago, I made a piece provoked by Courbetâ€™s â€œThe Origin of the World.â€ I was very influenced by Linda Nochlinâ€™s pivotal essay on that infamous painting, and the difficulty, if not impossibility, of locating an originary point â€” whether in relationship to that picture, which existed in several versions, disappeared, and re-surfaced over a long stretch of timeâ€¦ as well as the funny ridiculousness of imagining the universal vulva-cunt as the origin of us all, the Great Motherâ€¦ how much better to use the term â€œbeaverâ€? or just ordinary womenâ€™s names: a succession of beaversâ€¦
A more recent project was instigated by theÂ notes, translated from Arabic into English, allegedly written by Mohammed Atta in preparation for the hijackings and attacks of September 11, 2001.Â When I read these, all sorts of problems immediately presented themselves. Was this an actual document? Were the notes, in fact, â€œfoundâ€? or were they a fiction, invented to â€œproveâ€ a rationale as incomprehensible as the acts that followed? Was this a reliable translation?
The idea that translation is often slippery and inexact, and sometimes impossible, is widely acknowledged. Yet we like to pretend that complete transparency is within our reach, that vast differences of culture, language, and history can be breached, if only the right tools, technologies, and â€œmindsetsâ€ are available. And translation, like everything else, has undergone a renewed politicization in this ever-encapsulated world.
In a lot of my work, I explore spaces and distances between a â€œhereâ€ and a â€œthere,â€ a presumed â€œcenterâ€ and its â€œperiphery,â€ to work off the grid to the point of falling off a map completely. I work with images drawn from public, although possibly ephemeral archives â€“ things like newspapers, outtakes, margins of the marginsÂ â€“ to fictionalize them, at the same time as undermining the authority of â€œauthenticâ€ or alleged autobiography. Like Mathew, Iâ€™m preoccupied with the instability of memory,Â very enamored of the idea, the necessity of the unreliable narratorâ€¦ or the mute, opaque, or invisible one.
We are just around the corner from a ten day international performance art festival, Rapid Pulse. Over the course of those ten days, 29 national and international artists will present a Â variety of works both inside and outside gallery settings. Additionally one can expect panels, discussions and group walks between events. Like much of Chicago’s cultural energy, the festival emerged from a DIY ethos. It’s professional ambition is nevertheless evident Â from the wide-spanning range of engagement; the confluence of those two aesthetics promise to create a profound mix of community enthusiasm and high caliber art â€” my favorite mix. In the following interview, Defibrillator Gallery Director Joseph Ravens talks about how it came together, some of the highlights one might anticipate from the festival and how it engages public space.
Caroline Picard: So tell me a little bit about how Rapid Pulse came about? It seems like an incredibly ambitious project â€” ten days worth of performance art, not to mention a number of out-of-town (and international) artists. Was that a network that already existed for you?Â
Joseph Ravens: When I first started the gallery, I knew that an international festival was something I wanted to do. When putting together the festival, I fully intended to call upon the personal contacts that I made touring international festivals over the past decade. I made many friends over the years and simply thought I would draw upon those resources. At first, it was going to be very small. But we put out an international call for artists and received about 150 applications and most of them were very strong. So it just grew, unexpectedly. Sometimes I regret it and other times I’m delighted. I’m mostly delighted. I then reached out to Julie Laffin and Steven Bridges to help co-curate. This choice was not only to help make the overwhelming task of sorting through the applications more manageable, but also, to diversify the type of work that we would present. I would never be able to do this without them. I wanted Rapid Pulse to embody my vision, but not necessarily be an extension of my preferred tastes and styles. The fourth curator, Giana Gambino, was also instrumental in the beginning of the festival. She approached me late last year and said that if I wanted to follow through with the festival, she would help me. I’ve leaned on her a lot. We are certainly short on resources but, luckily, ambition is in high supply.
CP: What has it been like communicating with various artists about their upcoming projects? Are there particular events that you’re excited by at the moment?
JR: Managing the data and correspondence has been one of the most difficult tasks confronting me. As you can imagine, performance artists have unique requests. One artist, Brazilian, Cristiane Bouger, wants to smash 300 full bottles of Brazilian beer. I’m still a little stumped about it. In general, though, it has been a pleasure for me to get to know artists whose work I respect and I look forward to meeting them face to face. German artist, Regina Frank, applied and I am so flattered and honored because I am familiar with her work and strong reputation. I’m really excited about Italian/Austrian artist Helmut Heiss’ project. He’s flying a banner behind an airplane as his performance. It says “sharp” by the start time on his night because it’s all arranged with the flight company for a specific place and time. Added as an afterthought, I’m also quite excited by our video series. We received such great submissions and some of the artists we invited to perform live weren’t able to come. So we initiated this series to show their work and works by other artists who we admire. This was also an effort to diversify the regions and styles of performance represented in the festival. It is an interesting thing to correspond with artists about their projects. I have shaped certain ideas about their personalities based purely on email exchanges. I’m really excited to meet the artists and discover how their live personalities correspond or conflict with their digital personas.
CP: You mentioned that there were going to be some performances in more traditional gallery settings, but also that some performances would take place on the street, playing with our expectations of the everyday. Can you talk a little bit about some of those? What does it mean to engage a banal and public street that way? Of course it probably depends on the particular performance, but I’m curious about what it means to you, as a director of sorts, in thinking about reserving different “sites.”
JR: Public performance is a particular interest to me as an artist and a curator. Last year Defibrillator curated a series called, Out of Site where we presented 12 unexpected encounters in Wicker Park in association with the local SSA. I’m interested in arresting peoples’ daily lives; giving them pause to reevaluate their surroundings and the boundaries of art. Performance art, especially, can be elitist to a certain degree. Unless you are seeking it out or familiar with the form, you may never encounter this medium. So taking it to the streets is a way to further the reach of this often inaccessible and misunderstood discipline. I actually presented a work in Out of Site for which I ran with a giant fish for two hours around Wicker Park. One viewer posted a ‘missed connection’ in the Reader thanking me for the surprise encounter she experienced when coming out of the Division Blue Line stop. This delighted me. I’m on a mission to broaden the awareness and understanding of performance art among the general public. For Rapid Pulse, several artists are performing in the street. Chicago duo, Industry of the Ordinary, will be branding passers-by with ink stamps. Brazilian artist, Tales Frey will be staging a half hour gender bending wedding kiss. For a project called Apparition, Texas artist, Julia Wallace, will be dressed as the Virgin Mary while breast feeding a baby Jesus. There are several others, including local artists, Lucky Pierre (walking Chicago from south to north) and Lisa Vinebaum who will picket outside local sites in an effort toÂ connect the current crisis in timed labor to the historical struggle for workersâ€™ rights. Designed to be more enticing than confrontational, these works will broaden ideas about what art is and could be.
CP:Â What has it been like finding places for artists to stay? And do you feel like that reflects something about Chicago in particular? Or performance? That there is a willingness to share a home, in some way….
JR: I love this question. Our original idea was to place artists in hotels but, of course, finances are a problem. People stepped up right away to help out and I’m really proud of them (and Chicago) for this. We’ve scheduled a panel on the “Chicago Aesthetic” within the festival, but one thing that stands out to me in regard to this city is our DIY attitude and our gracious hospitality. By placing artists in peoples’ homes, it embodies these ideas. So where I was at first disappointed at not being able to provide hotel accommodation, I’m now thrilled that the housing now reflects Chicago’s style. We’ve organized two “Directors of Hospitality” to ensure that the guest artists have a pleasant and comfortable stay in Chicago. It’s really important PR, actually. People leave a city and talk about their experiences and I want to make sure that all the artists go away happy and paint a wonderful picture of Chicago to their friends and colleagues around the world. I love Chicago and am proud and happy to share our city. I firmly believe we should have larger visibility on an international scale.
Unlike other mediums where one might send a piece away to be exhibited, performance artists need to be present to show their work. I’ve toured extensively and some of the best experiences I’ve had have been ones where I stayed with local people. It’s a way to get insight into the everyday lives of those in that city. It’s also a great way to make long lasting friends and connections. When organizing Rapid Pulse, I was embracing things that worked when I was in other festivals, and correcting things that didn’t work as well. Many of the opportunities and invitations that I’ve received have been the result of connections I’ve made from prior festivals. I would love for Chicago artists to have more visibility within international platforms. One way to accomplish this is for them to make connections during Rapid Pulse. In addition to home stays, we have planned group meals each day so the local and international artists and volunteers can get to know one another and seeds might be planted for future exchange. We hosted Estonian artists, Non-Grata a couple months ago, and one of our volunteers, Amber Lee, formed a relationship and is now touring with them in Europe. This makes me happy and proud. I hope similar situations arise as a result of Rapid Pulse.
This is sort of like a preview for two series of interviews and posts I have planned. You may have noticed I haven’t been posting as many interviews these last couple of weeks; that’s because I’ve been conducting them in the back room, just out of your view. It’s been like a back stage shuffle and I’m getting more and more excited about launching these projects. I hope to do so starting next week.
1) The first series of interviews comes out of a month-long residency I went on this last summer. For the month of June I lived at AS220 in Providence, Rhode Island. There I made use of their most amazing print shop facility to make books and conducted interviews with different individuals running projects. From those talks I have three interviews that I’ll be posting: an interview with Xander Marro and Pippi Zornoza of the ever illustrious artist-run Dirt Palace, a conversation with former-Providence resident and print maker Meg Turner about a print shop/collective she’s opened in New Orleans and a recounted conversation with AS220 founder Umberto Crenca (this last conversation was not recorded and will, no doubt,Â suffer or shine from the process of memory). I was particularly interested the relationship between a political environment and DIY artistic initiatives. Providence seemed like a particularly interesting place to think about that dynamic given that it espouses vibrant artistic energy in a city historically notorious for its corruption.
2) The next series I’m working on is shaping into a longer trajectory in which I wanted to examine this ever illusive “hybridity” idea. As an adjective that seems to regularly crop up in conversation, it has started to feel like a buzzword of some kind, and while I love its aura I have some difficulty grasping its meaning. To that end, I’ve been interviewing different artists who specifically address different aspects of hybridity in their work. From Tessa Siddle, Sebastian Alvarez, Milan Mathay, andÂ Gwenn-Ael LynnÂ â€” the project continues to grow. I’m interested in hybridity because of how it seems to challenge traditional ideas of category, therefore calling to question the structures that gather around categories, whether that structure is a kind of material power, or a linguistic scaffold. What kind of work follows from this investigation? And where do we locate the self? I’m planning a few non-interview posts on the same topic, including (for instance) a review of Marcus Coates’ new book, The TripÂ and an old friend (the only 500 year old witch I know) has agreed to put together three hybridity spells, which should only be incanted at night. Â I’m pretty excited.
Hopefully you will be too!
Stay tuned till next week
Duncan and Terri talk to Anne Elizabeth Moore about her book Unmarketable: Brandalism, Copyfighting, Mocketing, and the Erosion of Integrity and related topics.
For years the do-it-yourself (DIY)/punk underground has worked against the logic of mass production and creative uniformity, disseminating radical ideas and directly making and trading goods and services. But what happens when the underground becomes just another market? What happens when the very tools that the artists and activists have used to build word of mouth are co-opted by corporate America? What happens to cultural resistance when it becomes just another marketing platform?
Unmarketable examines the corrosive effects of corporate infiltration of the underground. Activist and author Anne Elizabeth Moore takes a critical look at the savvy advertising agencies, corporate marketing teams, and branding experts who use DIY techniques to reach a youth market-and at members of the underground who have helped forward corporate agendas through their own artistic, and occasionally activist, projects.
Covering everything from Adbusters to Tylenol’s indie-star-studded Ouch! campaign, Unmarketable is a lively, funny, and much-needed look at what’s happening to the underground and what it means for activism, commerce, and integrity in a world dominated by corporations.
Anne Elizabeth Moore is the co-editor of Punk Planet, the Best American Comics series editor, and the author of Hey Kidz! Buy This Book: A Radical Primer on Corporate and Governmental Propaganda and Artistic Activism for Short People. She has written for Bitch, the Chicago Reader, In These Times, The Onion, The Progressive, and Chicago Public Radio WBEZ’s radio program 848. She lives in Chicago.
I will mail 5 bucks to the first person who can identify the name of the artist and title of the song used to close the show, it has bothered me for years that I don’t know who it is.