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…
This week: Live from the Arts Club of Chicago (with great thanks to Janine Mileaf and Allie Foradas!!) Duncan and Richard talk to William Pope.L, about the forthcoming performance “Pull”, his show at the Renaissance Society “Forlesen” http://www.renaissancesociety.org/site/Exhibitions/Intro.William-PopeL-Forlesen.634.html, and more!
William Pope.L (born 1955 in Newark, New Jersey) is an American visual artist best known for his work in performance art, and interventionist public art. However, he has also produced art in painting, photography and theater. He was included in the 2002 Whitney Biennial and is a Guggenheim Fellow.
Learn more and donate to support stipends for PULL! participants: http://www.usaprojects.org/project/pull_a_participatory_performance_art_project_for_a_small_city
Follow the project on Facebook Twitter @WilliamPopeL #pullcleveland & Instagram @WilliamPopeL1
Other ways to help would be to Like Pope.L’s Facebook page here:https://www.facebook.com/pages/William-PopeL/531921730192043?fref=ts
and it would be HUGELY awesome if you could invite as many people as you are able (and encourage them do the same) to the event page: https://www.facebook.com/events/315591868543467/?fref=ts
Also! Join Pope.L for a post PULL! conversation at High Concept Laboratories on June 30: http://highconceptlaboratories.org/william-pope-l-before-and-after-pull/
Work by Anthea Behm
Golden Gallery is located at 3319 N. Broadway. Reception is Saturday from 6-9pm.
Work by Cristina Gonzalez, Juan Angel Chavez, Steve Reber, Sarah Belknap + Joseph Belknap, Micheal Rea, Mark Holmes, Josue Pellot, Montgomery Kim, Hao Ni, Kazuki Guzman, Matthew ‘Sighn’ Hoffman, Dylan Jones, and Holly Holmes
Chicago Urban Art Society is located at 2229 S. Halsted St. Reception is Friday from 6-11pm.
Work by Anne-Mie Van Kerckhoven
The Renaissance Society is located at 5811 S. Ellis Ave., Cobb Hall 418. Reception is Sunday from 4-7pm.
Work by Conor Backman, Magalie Guérin, and Matt Nichols
LVL3 is located at 1542 N. Milwaukee Ave, 3rd Fl. Reception is Saturday from 6-10pm.
Curated by Dawoud Bey
Hyde Park Art Center is located at 5020 S. Cornell Ave. Reception is Sunday from 3-5pm.
Congratulations to Hamza Walker, curator at The Renaissance Society — it has just been announced that he’s won the Ordway Prize from Creative Link for the Arts and the New Museum! Walker, along with artist Artur Żmijewski, will receive an unrestricted award of $100,000. Here’s the text of the announcement in full:
“Creative Link for the Arts and the New Museum have announced Hamza Walker, the Director of Education and Associate Curator at Chicago’s Renaissance Society, and Polish artist Artur Żmijewski, as the recipients of the Ordway Prize. An international panel of Nominators and a Jury of leading arts world figures-led by Jennifer McSweeney, Director of Creative Link for the Arts, and Richard Flood, Chief Curator at the New Museum-selected the Ordway Prize recipients from a global pool of nominees. Walker and Żmijewski will each receive an unrestricted cash prize of $100,000.
“Working with artists is a reward in itself, and I feel privileged at being so generously honored for my passion. I wish I had a grand vision for the award, but as it stands, the bricks and mortar of my life are in severe need of tuckpointing,” said Hamza Walker.
While I was looking at the photographs of Anna Shteynshleyger at the opening of this Russian-born, Chicago-based artist’s new solo exhibition at at The Renaissance Society, a middle-aged woman wearing a fluffy, faux-fur coat sidled up next to me. “Do you know what that is?” she asked me, pointing to the image I was peering at intently. It was a blue-tinged photograph of some sort of twisted, fleshy material that looked like raw bread dough.
“I’m not exactly sure,” I replied. “I can’t tell if it’s soaking in a bowl of something or what.”
“It looks organic,” the woman mused, “like an organ from a body.”
“Well, it’s challah….It’s not baked yet. But I can’t make out what this part is,” I said, gesturing to the circular, fan-like opening out of which the doughy form appeared to be rising.
“Oh, it’s challah!?” she exclaimed. “I know what challah is — I make challah. But that looks more like a body part. How do you pronounce the artist’s name?” I told her I had no idea, and she nodded. “She should have changed it to Smith!” Read more