August 30, 2013 · Print This Article
Stephanie Cristello published an interview with Richard Holland and Duncan MacKenzie on The Seen recently to talk about Bad at Sports’ plans for EXPO, including the upcoming print publication Dana Bassett is spearheading and the various interviews we will be conducting on site at the fair.
BAD AT SPORTS // INTERVIEW
Duncan MacKenzie and Richard Holland of Bad at Sports are two of the best in town to talk with about art. Known for their witty commentary and contemporary art talk platform Bad at Sports, they are most admired for their weekly podcasts and blog. The three of us sat down to discuss their involvement with EXPO/2013 – the recent venture of a newspaper that will be distributed throughout the fair spearheaded by What’s the T? columnist Dana Bassett entitled The EXPO Register, and the live interviews they will be fielding from their booth next to the /Dialogues stage. The lineup for this year’s panel is impressive, titled “One-on-One,” just one of many sports puns, MacKenzie and Holland will be in conversation with gallerists, directors, and curators, such as Solveig Øvstebø of the Renaissance Society, Elysia Borowy-Reeder of the MOCAD Detroit, and Director Charlie James, as well as artists William Powhida, José Lerma, and Sanford Biggers. While the details of these interviews are kept secret (you will just have to see them in person to find out), our conversation breaches the extent of Bad at Sports coverage at the fair, their plans for the paper, and MacKenzie and Holland’s bucket list – like an interview about interviews, or something along those lines.
Stephanie Cristello: Let’s start off by talking about some of the things you’re doing for the fair. You’re working with Dana Bassett to publish a newspaper reporting live?
Duncan MacKenzie: Yes, the newspaper is going to be called The EXPO Register and reflects our collective style – slightly goofy, a touch irreverent, yet fairly straight ahead. The great thing about working with Dana is that she has the same wry sense of humor as us, which will definitely be a part of it, but it will also be a sincere tool for the fair goers.
Richard Holland: At Bad at Sports we are slightly irreverent, but not extensively. We are respectful of our guests – we will make fun of them now and again, but at our core, we are the fan club newsletter. This newspaper will be a different side of that effort.
SC: So you will be reporting on trends, how much gossip is there going to be?
DM: 98% trash! No – there will be a chunk of it that’s gossip, but it’s light.
RH: We’re just trying not to get sued, that’s why we don’t have comments on our site anymore. After the fourth time we got threatened with a lawsuit…
The Love Librarian is in. Another Valentine’s Day may be behind us, but Detroit-based artist Chido Johnson still wants to talk about love. For the month of February, Johnson is the official Love Librarian of the Museum of Contemporary Art Detroit (MOCAD), cataloging, digitizing, and facilitating public engagement with his ongoing project, Let’s Talk About Love Baby, a growing collection of artist-made romance novels. Since its founding in 2008, the Love Library has expanded from Detroit to include branches in Chicago, Zimbabwe, and Ethiopia. Each chapter has its own resident Love Librarian whose task is to invite a group of artists, (who in turn have invited additional artists), to contribute a book to the burgeoning collection.
The current Detroit archive consists of works from artists and collectives who cross all media and cultural demographics, and their variable portrayals of love and romance range from the steamily satirical to the unnervingly intimate. “Heart Abortion” by Suite42, (Danielle Julian Norton and Tarrah Krajnak), is an homage to art world-induced heartbreak bound in the pages of Artforum; Scott Johnson’s “Guilty Love,” is a volume whose pages literally reflect the reader-as-author bound in narcissistic self-love; and Ed Brown and Annie Reinhardt’s dual volumes, “Birds + Shell,” consist of a cassette and player housed in a pair of two unassuming covers of Danielle Steele paperbacks. Each book when ensconced en masse is equally compelling, and upon closer examination, the works reveal maker, collector, and reader as agents bound by an affection for, well, affection, in all its mysterious and salacious incarnations.
The Love Library was born from a time of crisis. Creator Chido Johnson sought to address the violence and devastation of the current moment with a project that could serve as a generative counterpoint—love being a force that similarly leads to undoing and affect. Exploring a subject that many would consider taboo in the context of academia and fine art, Johnson ventured beyond the pop precedent of Robert Indiana, the unsubstantive sparkle of Damien Hirst, and even the digitally-networked quotidian community of Miranda July and Harrell Fletcher’s Learning to Love You More. Indeed, Let’s Talk About Love Baby is a different brand of cheese altogether. Johnson’s library reminds us that universality doesn’t preclude difference, and sometimes quirkiness can be found in cliché.
I spoke with Chido Johnson, Love Librarian, in residence at MOCAD.
Sarah Margolis-Pineo: So, let’s talk about love. How did this project begin, and how is love as a subject significant for you?
Chido Johnson: The idea for Love Library [Let’s Talk About Love] began when I was teaching in Sweden in 2008. This was just when violence in the Gaza Strip was escalating, and when Zimbabwe—where I was born and raised, was going through a horrific time. An image that has stayed with me from that moment is news footage of a doctor amidst the shelling in Gaza being interviewed live by a friend who worked for the Israeli TV. While he was being interviewed about the conflict, he was told that his family—his daughters were just killed by Israeli shells. It was crazy. At that time, I was thinking that as an educator we don’t talk about love, sex, or religion, and for whatever reason, these are all no-nos in an academic setting; instead, we talk about psychology and identity, and I felt like we were missing the meaty stuff of life. Later, talking about this issue with one of my colleagues in Sweden, I knew I wanted to address this idea. I was moved by it.
SMP: Why the form of the romance novel?
CJ: I was raised in rural Zimbabwe where we didn’t have television. My mom was a medical doctor and for her downtime she would read Mills and Boons, which is the British version of Harlequin— novels that are more toned down and more romantic than the very hot, highly sexualized versions that are over here. Really, it was the only form of entertainment, and I used to read at least one romance book a week.
This romance novel project is a way to address the cheesiness of love—how it’s perceived as a cheesy subject, packaged in cheesy formats like the Harlequin novel and the top-forty movie. I had to address the work in a totally cheesy way—I embraced the cheesiness. The thing about the romance novel is you tend to discount this shelf immediately for its cheap paperbacks—as a one-night stand kind of experience, but then, if you really let yourself go into the project, you can be caught. The love story is human.
My work has been always curious about othering and the formation of assumptions—assumptions of self and of other. The idea is to look down the shelf and see all of these homogenized objects. It’s only when you pick one out and spend some time with it that you realize that it’s so different. It was really important to the project that this work was not made by me, rather, I invite people to participate in it. It had to be about the collectivism, and it had to be about the assumptions of the similar and the shock of the differences. We are enriched by our differences, not by systemized similarities. That’s what I really wanted to push with the project.
SMP: It’s interesting, because as you rightly point out, there’s a distinct stickiness between numerous elements within the work including: fantasy and reality, serial and singular, and ephemeral and eternal. Can you speak more to the objecthood of this work?
CJ: Yes, this project definitely speaks to the book and its perceived temporalness. These objects here are very much alive —in touch, caress, smell—yet in our present time, books have become the object of nostalgia almost similar to a hand written letter. So that physicalness was very important too, and I think that’s why I specifically called out to artists who would approach work so differently, but are very conscious of the physical nature of objects. Each book is a very physical experience.
Growing up, my father was an artist—a political activist and a puppeteer. As a child, I really enjoyed making puppets, and for me, a puppet has a defined role and function. It has a purpose, a cultural function. So i see the work being very raw, naked to its actual role, thus very real, and not dependent on an existential narrative. It’s an object that is what it is—it exists through a performative act, not through its fabricated narrative. I see traces of that here in the Love Library, and also in the project in the next gallery, [Laugh Detroit].
SMP: I’m also interested in the collaborative aspect of this project. Primarily, you solicit the participation of artists contributing to the work, but then you also have the continued activation of the project through the lending library and the physical interactions with the viewing/reading public. First, can you speak to the logistics of participation in this project—is there an open call, for example? And more generally, what does participation bring to your practice overall?
CJ: There’s no open call, and it’s up to the Love Librarians to extend the invitations to artists to participate. All the people who I initially called are people who I totally admire and respect. I called them individually, and then I told each one that they could in turn invite one person to participate. That’s how it grew, and now in all the different chapters—Chicago, Addis Ababa, [Ethiopia], St. Louis, Harare, [Zimbabwe]—the librarians there can extend their own invitations to allow those chapters to grow. It’s amazing how it slowly creeps and expands. Looking at these shelves, I know everyone here is so intimately connected and there’s so much love and respect that exists here. I wanted to keep the project real that way, the feeling of a community.
On top of that, I guess, as any artist tries to do, I always try to question the ways we present work and how we interact with an audience. What I really enjoy about the idea of a library is that is that it’s not an immediate, total experience—it’s a changing space that has to be constantly interacted [with], and it’s intimately interacted [with]. I like that it’s not being perceived as art, so people can perform the work and have a natural experience rather than a trained experience. At first I thought that I would have the public check-out books, but right now, books are still coming, so I’m here every day cataloging. I’ve held back from checking-out books because now I’m very protective of all the books in the show.
I’ve been starting to think about that. It’s gotten to the point now where it’s a project that I feel honored to be a part of, but it’s a lot of work. I do everything: run the website, self-sponsoring, ship books back and forth, so I’ve been starting to think of what to do in the long term. It’s a responsibility I have now—it’s not just a project, it’s a responsibility, and these are really precious books.
SMP: What struck me immediately about this project is its seriousness. Despite the cliché fantasy of romance novel, by in large, these artists presented very real, very moving, very intimate narratives through making these objects.
CJ: That’s what shakes me up! A friend of mine—that colleague in Sweden who I mentioned earlier, she passed away last year. Her book is a copy of Romeo and Juliet; she removed all the text except for the words that bind. The pages are sort of translucent, so as you flip through the experience of it is almost like a river—like water, but it’s still mapped out as the pages were, so there is an internal order. She did this book in honor of a friend of hers in Sweden who was a Fluxus artist who passed away at that time, and since the artist’s own passing, this has become a truly powerful piece. I remember sitting down in Ethiopia meeting a group of artists and introducing the project. In the beginning, I have my rap about the project: this is what it’s about, it’s all about love, etc. But then when the work actually happens, every time, it’s totally moving. It’s then that the realness occurs. People tell their stories. There’s one couple: he’s in Ethiopia, and she is attending school in Texas. Since the day they’ve been married, they’ve been separated by a great distance with no funds to travel. They’re book is a collection of emails sent back and forth across the globe during their separation.
Love is something that’s trapped in us. The world is in such a state now, that’s it’s almost like we have to hold on to something—some sense of realness. We’re at the height of crisis, and people become overrun with emotion. Really, we need love.
Chido Johnson is the head of sculpture at the College for Creative Studies in Detroit, and was a 2009 Kresge Fellow. Currently, he is the Artist-in-Residence at the Museum of Contemporary Art Detroit (MOCAD) as part of the Department of Education and Public Engagement Space Residency, where the artist has installed his Love Library and will be serving as head librarian. On Sunday Feb. 19, 12-4pm, Johnson will facilitate “I Love You and Ha Ha Ha Ha Ha!” as part of Laugh Detroit, also on view at MOCAD.
This interview is part one of two. On Thursday March 2, Bad@Sports will post part two of Sarah Margolis-Pineo’s interview with Chido Johnson.
UPDATED WITH CORRECTIONS:
We received an email from Carlie Dennis, the exhibitions assistant at MOCAD, containing a few corrections to the piece below concerning the number of visual artists represented in the Art X exhibition at MOCAD. The correct numbers have been noted in bold in the piece, and Dennis’ letter to Bad at Sports containing further clarifying details, etc. follows the post in an effort to ensure the corrections are clear. In addition, please note the following exhibition sponsorship information provided to us by MOCAD: The Art X Detroit: Kresge Arts Experience is sponsored by The Kresge Foundation, in partnership with the College for Creative Studies, Artserve Michigan, the University Cultural Center Association (UCCA) and the Museum of Contemporary Art Detroit (MOCAD).
– Claudine Ise
GUEST POST BY SARAH MARGOLIS-PINEO
It was in 1909 that Marienetti first recounts his fated car crash in the pages of Le Figero. He describes an evening where late-night mythologizing veers poetically into an early morning drive. Three “snorting machines” are caressed and brought to life, and he writes, “a great sweep of madness brought us sharply back to ourselves and drove us through the streets, steep and deep, like dried up torrents.” Torrents, indeed. Of course we know how this ends: one shiny, red roadster meets two cyclists, (“like two persuasive but contradictory arguments”), and crashes grill-first into a gutter filled with the muck of industrial runoff. Overcome by his encounter with the speed and power of mechanical ingenuity, Marienetti emerges from the factory sludge a Futurist—belligerently positioned towards a new era, first will and testament in hand.
Coincidentally, it was this same year that Henry Ford’s Model T made its debut at the Detroit Auto Show, and thusly set into motion the chain of events that would result in the creation of Motor City—a figment of Detroit’s identity that persists over a century later. Artists in Detroit are consumed by the context of the post-industrial, post-urban cityscape. Like Marienetti, they are influenced by the concrete motorways and roaring engines that have shaped the physical space, economy, and consciousness of the city for decades.
Art X Detroit, an exhibition featuring
19 17 of the 36 Kresge Fellowship recipients, opened April 6 at the Museum of Contemporary Art Detroit. Wire Car Cruse, an event and subsequent video work, (titled “a dance for Diego,”) by Chido Johnson, deliberately mines the history and present of car culture in Detroit. The Woodward Dream Cruise, now in its 16th year, is an annual event, where more than 40,000 classic cars and roughly 1.5-million spectators assemble along the 16-mile stretch of Woodward Avenue to observe and tailgate, while restored antiques and custom muscle cars takeover the arterial. I will say, that from someone who is admittedly more of a public transportation enthusiast, this weekend-long spectacle does not disappoint. Beer, barbeque, and tricked-out mechanics?! Um, yes, please.
Johnson uses the performance of Dream Cruise as the foundation for his own event, which combines the ritual of the Detroit car cruise with the practice of creating wire cars, a pastime from Johnson’s childhood in Zambia and Zimbabwe. The performance articulates a hybrid cultural activity, which represents the artist’s own negations with subjectivity living between two cultures. Moreover, Johnson’s event cultivated a community of wire car enthusiasts, and in so doing, opened up this history of Detroiters and their cars to new audiences who may have been previously excluded from this specific cultural phenomenon.
The video documenting Wire Car Cruise is juxtaposed with a sculpture entitled, “me me me,” which is a self-portrait of the artist as a carved African statuette installed on a deconstructed cardboard box on the gallery floor. This work further accentuates the search for a sense of identity between cultural spaces—a literal unpacking of the artist as subject. What interests me most about the video, statuette, and their installation at floor level, is their child-scale. The overall impression of the work is a sense of playfulness that Johnson associates with the practice of making. The video work, “a dance for Diego,” takes as its title a sentiment from Diego Rivera who said that the city of Detroit is of makers and dreamers. Johnson’s work at its essence is about making, and reinvigorating this type of creative industry with a sense of joy and wonder.
Abigail Anne Newbold’s work, “Home Maker,” addresses the urban frontier as an expanse to be explored via bicycle and wagon. In the tradition of the pioneer settlement, the Airstream mobile trailer, and the popup house, this project is comprised of an intricate toolkit with which even the least adept outdoorsman can create a makeshift home. The foundation of the piece is a custom-made bicycle and covered wagon functioning like a rickshaw trailing behind. The accompanying toolkit is exhibited in an arrangement both in the wagon and on a gallery wall, which operates like a hybrid one-bike garage meets REI store display. The literal use of the tools is ambiguous; however, the rugged, weather-ready materials in hazard yellow and orange renders the objects explicitly for outdoor survival.
Perhaps this work is a statement on the changing nature of settlement and domesticity given the shifting housing market, or maybe Newbold is supplying tools, (such as a three-fingered pot holder, a bouquet of tent stakes, and wilted bow and quiver of arrows), to the urban ethnographer. Regardless, “Home Maker” is a response to a city in transition, where the untamed urban prairie is an opportunity to develop and implement re-imagined infrastructures for living for the coming century.
Photographer Corine Vermeulen is the spiritual offspring of Dorthea Lange and Buckminster Fuller. Her series, “Your Town Tomorrow, Detroit 2001-2011,” explores the identity of place through portraiture of the everyday Detroiter. Vermeulen’s imagery, through documentary, ventures beyond the sensation-hungry media snapshot of blighted landscape and broken home. In fact, Detroit as an urban, city-subject is barely recognizable. Her subjects are framed by a landscape that has an immediate, visual association with the southern rural rather than the rustbelt. Families and haphazard communities are depicted in the liminal spaces of Detroit—in front of ailing fences, amidst the tall grasses of overgrown urban lots, and on rebuilt bicycles. It is from this ambiguity of place that Vermeulen achieves the futuristic sensibility referenced in the title of the series.
The artists refers to her portrait series as “memories of the future.” Like the work of Newbold, Vermeulen portrays a city in transition—its citizens picking up the broken detritus left in the wake of post-industrialzation to re-cultivate land, rebuild homes, and re-imagine communities. Her portraits contain the “new topographies of urban life,” and function as an alter-narration of what urban space can be, and indeed, may be, in the uncertain future of Detroit.
Other artists featured in Art X Detroit at the Museum of Contemporary Art Detroit are Shiva Ahmadi, Hartmut Austen, Lynne Avadenka, Kristin Beaver, Susan Goethel Campbell, Ed Fraga, Tyree Guyton, Rod Klingelhofer, Gordon Newton, Russ Orlando, Senghor Reid, Michael E. Smith, Gilda Snowden, Cedric Tai, and Sioux Trujillo. The exhibition will be on view April 6-24, 2011.
Sarah Margolis-Pineo is a curator and writer. She is currently the Jeanne and Ralph Graham Collections Fellow at the Cranbrook Art Museum.
Corrections from Carlie Dennis, PR Coordinator/Exhibitions Assistant at MOCAD:
There are a few clarifications that I would like to highlight regarding the Art X Detroit exhibition that is currently on view at MOCAD. First, there are a total of 18 Visual Arts Fellows, 19 if one includes Eminent Artist award recipient Charles McGee. Neither Charles McGee, nor Tyree Guyton (one of the 18 Visual Arts Fellows) have work in the exhibition on view at MOCAD, as they each have public installations elsewhere in the Midtown neighborhood. Additionally, it is misleading to say that the exhibition features 19 of the 36 Fellowship recipients, as the other Fellows are in the Literary and Performing arts fields, and are therefore not included in the exhibition but are included in the week’s series of public programs and events. This statement makes it appear as if the exhibition was curated, when in fact it is an artist-driven showcase and includes all of the Visual Arts Fellows (please click here to read a lengthier description of the context of the exhibition: http://mocadetroit.org/). Finally, while MOCAD is the venue for this showcase, it is important that proper credit is given to those who produced, organized and funded the exhibition: The Art X Detroit: Kresge Arts Experience is sponsored by The Kresge Foundation, in partnership with the College for Creative Studies, Artserve Michigan, the University Cultural Center Association (UCCA) and the Museum of Contemporary Art Detroit (MOCAD).”