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REVIEW: Wave Int’l Issue 01

Martine Syms — Wed, 17 Nov 2010 19:04:19 +0000

Wave Int'l: Issue 01

Wave Int’l isn’t like any of the publications I’ve previously reviewed. Wave is a network that is documented in a quarterly exhibition and journal. Wave Int’l is co-directed by Brian Khek and Jasmine Lee, two students at the School of the Art Institute of Chicago. In Issue 01 artists Ida Lehtonen, Micah Schippa and Bret Scheider were commissioned to tackle “office iconography.” I chatted with Jasmine Lee about the relationship between publishing and curating and she explained how Wave seeks to innovate in both areas.

Martine Syms: How did you and Brian [Khek] meet and why did you decide to start working together?

Jasmine Lee: I had just moved to Chicago last summer from San Francisco for the VCS program at SAIC and I wanted to start a publication. Brian and I met in the fall. We went to school together and he lived down the street from me.We started cooking together. Brian makes the best Pad Thai. We would cook, talk art and we’d look at publications together. It was a nice welcome to Chicago.

MS: A friend of mine thinks that every artist/designer should be an adept cook. He puts it on the same level as technical or communication skills. Would you agree?

JL: Yes, absolutely. We talk about this a lot. Cooking or creating anything for consumption requires a prior knowledge which isn’t unlike art. It’s funny to us that art and food are still sort of in their own fields. We look at lot of different fields for fodder, like science or technology. What we like about food and technology is their ability to bring people together.

MS: Do you see Wave Int’l functioning in a similar way?

JL: Yes, we love to invite people over for food. The conversations we have are a lot of fun. We’re obsessed with the idea of connectivity

Wave Int'l: Issue 01, installation view at Co-Prosperity Sphere

MS: So why a publication?

JL: A lot of our work is done online.

MS: What do you mean by work? Artwork, homework, client work?

JL: Yes, all of it. Life work. When you work this way, there’s this feeling of fluidity. We wanted a publication because it’s more tangible. It’s less abstract than say a blog.

MS: When you work on a computer each activity blends into the next. A publication is more discrete, more representative of a specific moment/event.

JL: The publication and exhibitions are meant to be meeting points. A moment for us to gather our thoughts, reflect and move on. It’s meant to be transient, like a network.

MS: Tell me about your curatorial process. How did you find the artists in the show? Was there a particular narrative you and Brian were trying to express with the exhibition?

JL: We’re interested in bringing together people who’s work reflects ideas we’ve been contemplating. We’re not so interested in regionalism. Because of how we all experience a lot of the same things, regardless of where we live we have a starting point.

It’s kind of crazy how many people are making work. Bookmarks help. Brian and I exchange readings and work we like. As with most things, we wanted to work with people whose work we’d admired and respected, and most importantly, were curious about. As connected as we are with each other [online], a lot of this critical discourse that’s engaged by the visual work is often overlooked. Wave wants to welcome everyone to the conversation.

Wave Int'l: Issue 01, installation view at Co-Prosperity Sphere

MS: On your website you use the term “network” and call yourselves the directors. Do you see Wave operating in the tradition of the gallery or the magazine?

JL: We see ourselves as facilitators. Wave Int’l is a platform for critical discourse. We’re not so much concerned with the tradition of the gallery or magazine. We’re concerned with the responsibility that goes along with putting work out there, the push and pull of things that last and don’t last. We don’t just want to talk about something and throw it out there into space. We’re thinking about what happens after a show or even after the opening.

MS: In using the term director you’re acknowledging your responsibility, but in using network, you reconcile what happens afterwards, once the work is up, or the show is taken down.

JL: Yes. We’re interested in the potential of the ephemeral.

MS: Tell me about Ida Lehtonen and Micah Schippa, the artists in the show/issue.

JL: Micah is graduating from SAIC this fall. He’s from Holland, Michigan. He’s one of our cooking buddies! He makes the best soups and is awesome at baking. He’s someone we talk with a lot. We met Ida for the first time this week, after being in contact with her online for a year. Ida attends the School of Photography at the University of Göteburg in Sweden. Her work is very playful. Both Ida and Micah deal a lot with iconography in their work. Which is inherent in the medium [internet art]. I think there’s a lot of “net art” out there that’s really unapproachable, because of how esoteric it tends to be. It’s intimidating, but their work isn’t like that.

MS: What’s next for Wave Int’l?

JL: We want to travel. It’s another part of the practice, geographic diversity. Kind of like a tour. We’re currently building an ongoing program, which involves a library of visual, audio and literary appropriations from our own archives and that of our peers. We also have a printed version of the PDF, edition of 25, very very slick. Email waveintl@gmail.com for more info.

Download a copy of Wave Int’l: Issue 01 featuring Ida Lehtonen, Micah Schippa and Bret Schneider at www.waveintl.info. The printed version can also be purchased at Golden Age, where you’ll find Jasmine Lee working hard each Thursday!

REVIEW: Can I Come Over to Your House?

Martine Syms — Wed, 15 Sep 2010 18:02:15 +0000

Can I Come Over to Your House?, the anthology commemorating the first ten years of The Suburban, has a strange power to make its beholders confess to their unwavering love of co-founder Michelle Grabner. “I know I’m impulse buying, but I have to get this because Michelle Grabner is my hero,” a buyer admitted before purchasing a copy. A few days earlier another artist had disclosed that she “wanted to impress Michelle Grabner” while she fondled the stout red volume. Some visitors have taken to staring deeply into the cover and clasping their hands around the book. I try not to interrupt them.

I was surprised to hear this outpouring of devotion to Grabner from so many artists. I thought I was the only who dreamed of being her best friend. Everyone loves Michelle, especially those who “hate” her, and this little book reminds us why. The encyclopedic publication features contributions from the art world’s heaviest hitters from James Welling to Olivier Mosset to Wade Guyton to the Midwest’s patron saint of art David Robbins. Anyone who had ever exhibited under the umbrella of The Suburban was asked to submit four to six images and a brief text that “would best represent” their practice.

Karl Haendel’s provocative text, Questions For My Father begins, “Why did you decide to have children? What if I came out retard? How close did you come to hitting me?” Amy Granat opts for the traditional artist statement, while David Hullfish Bailey provides two (three?) artist statements AND an essay by Danish curator Jacob Fabricius. Novelist Jonathan Safran Foer gives us no words and only images. If an exhibition at The Suburban is “more closely related to what happens in your studio” as Grabner said in a recent interview, then Can I Come Over to Your House? successfully translates that practice to print in this thousand page guestbook-cum-sketchbook.

Can I Come Over to Your House? is available at Golden Age in Chicago. Visit The Suburban this Sunday for the opening reception of Jeff Gibson and Geoff Kleem and come to Golden Age on September 25th for the launch party of Can I Come Over to Your House?.

In Art “Anything is Possible” But Not Always A Good Move

Christopher — Fri, 03 Sep 2010 05:12:38 +0000

Review of the Art documentary “William Kentridge: Anything is Possible”

I love Art documentaries, I have watched almost every one that I could get my hands on over the years much to the displeasure of my wallet (they are always more expensive then the average film) and anyone I share a Netflix account with (watch enough art films and Netflix will make all sorts of assumptions about you in it’s recommended films algorithm).

Art docs have always been for me a great way to survey the work, personality, and tone of any artist. Its rare that the average person can get one on one time with an Artist of interest and when you do it’s more often after they have talked to 40 people before you and are 8 cups deep into the free beer or wine the gallery/school/institution/art fair put out. So in effect you get less then stellar conversations (not always mind you, the exceptions are often amazing) or and this is the truth for anyone artist, politician, scientist, what have you; that its hard to always be “on” and be able to talk extemporaneously and with give and take about your work. Art professors the world over try to beat the need for this skill into their students but the dirty secret is the professors often times are no better and have been no better for 20+ years. Fact is it’s a hard skill to learn for anyone and Art docs help with the magic of editing to give you the best moments of conversation possible.

Thats why its so saddening when you often times see artists speak vaugly, paradoxically, or with a straight faced serious non sequitur, much as the case with Art:21′s first feature length, solo artist film outside of the biennial Art in the Twenty-First Century series. Art:21′s “William Kentridge: Anything is Possible” is a well directed film with good production values. “Anything is Possible” has everything I look for in a good Art doc except William Kentridge is the typical “say nothing by saying much” artist in the film and this is after the director/editor has worked to make it as structured, poignant & narratively focused as possible since it is in their best interest to do so.

It’s kind of painful to watch after a while since it is clear with how Kentridge’s monologues are woven into the tapestry of the film as intros or outros to scenes and quickly cut that the production team didn’t really know how to make use of statements like “making art was a way of arriving at knowledge that was not subject to cross examination” and treated his narration more like a soundtrack to pop a scene or set a tone, not to make a statement to be followed by the audience. Very little of what William Kentridge says in the film sheds light on his youth, early career, family, later career or deeper intent other then then the very basic themes of a piece or style.

Having said this his skill as a stop motion filmaker, animator & stylized puppeteer is very facinating. His highly graphic, russian constructivism style of working has great impact and the director of “Anything is Possible” made strong use of this fact. The film by and large is a visual symphony of the various components that Kentridge uses in his practice, introducing them one at a time and then at the last movement bringing them all together in one operatic scene with as much scope as possible. Where the end of the film centers around the Artists collaboration with the Metropolitan Opera in a performance of Shostakovitch’s 1928 work “The Nose”. Then you see the shadow puppets, the animated drawing, the mix of 3d & 2d interaction, the projections that swallow the entire stage making humans look like ants & the political pageantry that winds it’s way through much of Kentridge’s work. Then and saddly only then does the film start to pay off.

I love the series Art:21 and know how difficult it is to organize, finance and execute interviews, artists, performances & such but I walk away from this first long form solo film wishing they had picked someone else to showcase and the feeling it was actually a behind the scenes for a yet to be released Met Opera DVD. Kentridge’s work and in many ways the man himself is so esoteric that few will be able to really sink their teeth into this or even care to try? I am not saying make the first film on anything as extreme as the out of favor Chapman brothers or zeitgeist Shepard Fairey but something more accessible and of interest to the twenty first century might be apropos.

The first line of the film is “My job is to make drawings not sense” which I realize he says to elicit a response from the audience of 60-70 year olds that are in attendance (watch the film and like Where’s Waldo find someone born after Tang was invented) but it is sadly true of his general take on this opportunity to speak to a larger audience, an occasion that he drops and never picks up. You see when I said earlier that the average person rarely gets a one on one with an Artist they are interested in it is doubly so for an artist to get the opportunity to broadly speak to a captive audience in such a way as this and when you do: teach us, illuminate us, speak to us, move us for sadly in life you get one or two chances at most and we move on to someone who will.

The broadcast premiere of “William Kentridge: Anything Is Possible” takes place this October 21 at 10:00 p.m. ET on PBS (check local listings). Susan Sollins, Art:21′s Executive Director & director of this documentary made a good film out of a poor subject choice, hopefully next time a more fitting and engaging person will be showcased.

Review: Manystuff #1, One Possible Catalyst

Martine Syms — Wed, 16 Jun 2010 22:42:43 +0000

Photo by Charlotte Cheetham © Manystuff

Manystuff is a blog, edited by the mostly anonymous Charlotte Cheetham, that offers a “daily selection” of graphic design. Manystuff has a devout, international following of 5,000+ visitors a day, they regularly organize design exhibitions and recently began publishing a magazine. Manystuff #1 is actually the second issue. Manystuff #0, More Real Than Fiction was released in 2008, but I wasn’t able to get my hands on it, so it remains less real to me.

Manystuff #1, One Possible Catalyst states its case modestly. The objective is to “fix a laboratory of experiments and meditations released from formal and theoretical prejudices.” One Possible Catalyst is not for those seeking a practical treatise about running your own studio or how to do-it-yourself, nor those looking for a barrage of striking images to consume. It comes as a refreshing counterpoint to the glut of design thinking, design within reach, and design sponging that currently abounds. One Possible Catalyst is for serious thinking about Design. Read it when you’re feeling cynical, but not when you’re feeling sleepy.

(Contributors were asked to diverge from the following three themes:)

Photo by Charlotte Cheetham © Manystuff

Less is more
This way of life has become a cliché and/or vice versa. Less is More is an argument for minimal graphic design that features an essay on the public notice by Rob Giampietro, a collection of business cards from Christian Brandt and a historical survey by Olivier Marcellin. Succinctly, “Use of a sans-serif and a uniform background.”

Support Graphic Design
Support Graphic Design is a catalog of structures used to hold posters and other designed objects, including outdoor benches from EventArchitectuur, billboards from Experimental Jetset, and a mobile bookshop from Robin Gadde. I was struck by the beauty and economy of the mobile bookshop, a succession of plywood sheets with rectangle cut outs for shelves.

Transmission
The headline asks “What about intergenerational relations between designers?” I often wonder if it’s even possible to establish intergenerational relationships outside of an institution. Sometimes I lament that the only way I’ll be able to meet so-and-so is to go to X school or secure another internship with no pay but lots of prestige. Although One Possible Catalyst provides no alternatives, it does offer a series of texts pairing educators with students and employers with interns that contemplate the role of generational exchange within the field.

Manystuff #1, One Possible Catalyst features contributions from Christian Brandt, Lorena Cardenas, Change is good, David Conte, Pinar Demirdag, Neil Donnelly, Laurent Fétis, Kees de Klein, Wayne Daly, Bear Demen, EventArchitectuur, Experimental Jetset, Robin Gadde &team, Rob Giampietro, Hannes Gloor & Stefan Jandl, Catherine Guiral & David Cluzeau, Arnaud Daffos, Vincent Lalanne, Aurélie Guérinet, Rikard Heberling, Hey Ho, Hyoun Youl Joe, Julia, Konst & Teknik, Sacha Leopold, Olivier Marcellin, Fanette Mellier, Pipi Parade, Please Let Me Design, Thibaut Robin, Grégoire Romanet, Mathias Schweizer, Maki Suzuki (Åbäke), Pierre Vanni, Karen Willey, and Ivor Williams.

It is available now at Manystuff.

REVIEW: Suitable Video – Volume 1

Martine Syms — Thu, 20 May 2010 01:16:15 +0000

Scott Wolniak was the proprietor of Suitable, an alternative (garage) space in Humboldt Park, from 1999-2004. He started the space after receiving his MFA from the University of Illinois at Chicago and ended it when the roof collapsed. The goal of Suitable was to provide young Chicago artists with an opportunity to show their work. Recently, Wolniak curated a show at Western Exhibitions consisting of videos that had been seen years earlier at Suitable. In conjunction with the exhibition, Suitable Video, Wolniak released a limited edition compilation of the works under the same name. Suitable Video: Volume 1 has a run-time of about an hour and includes work from Charles Irvin, Julia Hechtman, Sterling Ruby, John Neff, Kirsten Stoltmann, Marc Schwartzberg, Paul Nudd, Reed Anderson & Daniel Davidson, Sarah Conway, Miller and Shellabarger, Ben Stone, and Siebren Versteeg.

A still from Paul Nudd's Wurmburth

Sterling Ruby’s contribution, Cook, is a one minute montage that combines several documentary-style sequences of clandestine meth labs while a distorted voice over repeats, “I’m a chemist, I’m a cooker, I’m a manufacturer, and a distributor. I’ll do whatever the fuck I want in the privacy of my own home.” The phrase is oddly catchy and I found myself singing it throughout the day. Paul Nudd’s Wurmburth also stuck with me, out of disgust, it’s really gross. I said this to a friend and she asked “Gross-sexual or gross-dirty?” For three minutes an amorphous phallus goes in and out of various neon green caverns, while smoke, mucus, and spit ooze out. It’s both dirty and sexual. The piece I enjoyed most was Untitled (Nixon/HAL) by John Neff. In it a man gives two monologues against a solid blue background. The first is a statement that was prepared for President Nixon in the event of a moon disaster and the second is HAL’s final monologue from 2001: A Space Odyssey. The melodrama and humanity of the texts are rendered emotionless by their messengers, creating an amusing tension.

I was a film student at the School of the Art Institute of Chicago and I recognized a few of the pieces from my video classes. During my senior year of college I wouldn’t have considered Sterling Ruby young, Chicago-based, or in need of exhibition opportunities. When I saw these works at school they were presented out of context, completely removed from the community that is very apparent when I watch the Suitable Video anthology. “There is no thematic or conceptual agenda,” Wolniak acknowledges in his curator’s note. “There is a tangible sense of utility in much of the work– they do not seem fussed over, they communicate directly.” Unfussy, direct communication is a fitting theme for a compilation meant to encapsulate the efforts of a DIY exhibition space. These type of spaces pop up when a group of artists, with the help of their most entrepreneurial peers, need the most immediate way to connect with an audience. Alternative spaces stop being effective once they fulfill that need and when they close their doors, they take that history with them. Last year’s Artists Run Chicago at the Hyde Park Art Center was one way of telling the history of alternative spaces, Suitable Video is another.

Suitable Video: Volume 1 is available at Golden Age in Chicago.

ArtReview Reports on BaS NYC Gallery Show

Christopher — Tue, 27 Apr 2010 05:27:37 +0000

Chris Bors of ArtReview reports in on the Bad at Sports gallery show “Don’t Piss on Me and Tell Me It’s Raining” which has been up at Apexart Gallery in NYC since April 7th & will continue till May 22nd. In the review Mr. Bors comments on the relationship of the Art world to the internet & blogging especially. Pointing out Richard Flood’s recent statement at the Portland (Oregon) Art Museum about bloggers being prairie dogs; popping up one after another with no communication between themselves & no (editorial) oversight. A statement that one can debate the merits of but also one that Bad at Sports for over five years has been working to prove false.

In the review Mr. Bors recounts the history of Bad at Sports, the artists it has been lucky enough to work with over the years and the work they donated to be part of the gallery show. While also commenting on one piece in particular saying:

The liveliest work on view, however, is in apexart’s window, where a monitor shows animated credits listing Bad at Sports’s contributors. Created by B@S member Christopher Hudgens in the style of designer and filmmaker Saul Bass, well known for his masterful film titles, the retro graphics, limited animation and jazz soundtrack mesh seamlessly, while managing to get in a dig at Flood for good measure.

Bad at Sports would like to thank Mr. Bors for coming out to see the show and taking the time to review it. More so we want to thank every artist that was involved in the opening which in reality is nothing but an extention of the generous giving of time, ideas & energy those same people have shared with us for over 250 hours of interviews, talks, laughs & drinking since Bad at Sports first aired in 2005.

Maybe Hip: Internet TV out of Chicago

Christopher — Mon, 19 Apr 2010 04:09:52 +0000

Maybe Hip which has been broadcasting from Chicago only since Nov/Dec of 2009 is already starting to find it’s feet successfully as the new independent pop culture-focused internet television network. Their stated goal, to be a place where original video entertainment centers on all things that may – or may not – be hip.

Be it music, film, TV, pop culture, news, events in Chicago or around the world the crew of Maybe Hip are successfully writing, filming, producing & creating high level content on a shoestring budget. It’s funny, driven and earnest in it desire to inform & entertain. Needless to say it reminds me of another group I knew 5 years or so ago.

The company, founded in 2009 by Patrick Lothian, Robby Silver, and Lexi Scherr looks to add to the growing internet television industry discussion by creating original content for Generation Next that is more mainstream then the work done by people like Revision 3. It’s raw, it wears it heart on it’s sleeve & it wants to have fun and bring everyone along.

Time will only tell if the group can continue to refine their voice, onair chemistry & most of all get past the coming wall that is continuously meeting weekly deadlines for more then a year with no budget. So far though it looks to be a group worth keeping an eye on and more importantly, watching.

Review: North Drive Press #5

Martine Syms — Fri, 16 Apr 2010 21:10:54 +0000

I first heard about North Drive Press while working at Ooga Booga. It was selling well because it had been featured on Daily Candy, an insider newsletter on the “latest in fashion, food, and fun.” I think North Drive Press counts as fun. Daily Candy had pegged it as a tool to impress art snobs, a key to unlock the world of contemporary art.

Technically, North Drive Press is a cardboard box of artist multiples, interviews and texts. It was started in 2003 by best friends Matt Keegan and Lizzy Lee and named after the street that connects their childhood homes. The project was originally designed to function as a mobile exhibition for emerging artists, but quickly evolved into an annual non-thematic publication. Issue 5 is the final issue.

Like past issues #5 contains a variety of formats, from a Bart Simpson t-shirt to a photo of Damien Hirst’s penis. Although I don’t smoke I like handling Aurel Schmidt’s faux cigarette butt, a three-dimensional translation of her detritus drawings. For my fellow non-smokers there is also a mashed-up ‘no smoking’ sign by NY-based Nick Relph that would look amazing on an apartment wall.

Editions (clockwise) BY Aura Roseberg, Becca Albee, Mended Veil, Aurel Schmidt, B. Wurtz, Nate Hylden, B'L'ING. Photo by Susan Barber.

What I like best about North Drive Press is that it can act as both an archive and a fanzine. It’s as important as you want it to be. You could re-gift each multiple or earnestly collect each issue. In his recent documentary,How do you document a city?, Keegan interviewed archivists in San Francisco about their city and the relationship between objects and social history. With that concept in mind, North Drive Press could be called How do you document a scene?

All of the interviews and texts from issues 1-5 are available for free on the North Drive Press website. North Drive Press #5 is available at Golden Age in Chicago, Ooga Booga in Los Angeles, and Printed Matter in New York.

View Matt Keegan’s 22-minute documentary How do you document a city? here.

Review: Bless 10 Years of Themelessness DVD

Martine Syms — Thu, 18 Feb 2010 16:00:12 +0000

During a recent visit to Los Angeles I picked up the video compilation BLESS: Celebrating 10 Years of Themelessness at Ooga Booga. When I asked Wendy, the shop owner, about the dvd I was told “It’s not for people new to Bless. You won’t learn more anything about them. It’s for the true Bless fan.” For a moment I considered whether or not I was a true Bless fan and decided that I was.

Bless is a conceptual fashion house based in Paris and Berlin started by Desiree Heiss and Ines Kaag in 1996. They release products designed to “make the near future worth living for.” They make thoughtful garments, jewelry for electronic cables, hanging wardrobe mobiles, and other items intended to be used, lived with, and sometimes discarded.

BLESS: Celebrating 10 Years of Themelessness, released by Bureau des Videos, collects 15 short videos from the Bless archive. Many of the pieces are documentation from the public presentations of their varied collections. In N^o25, Uniseasoners, as people enter the dining area of a restaurant they are seated by servers wearing Bless clothing. The servers take orders, bring wine, and later bring food. Everything is normal, maybe even boring, except for occasional pauses to highlight elements of the clothing. A scarf turns into a hooded sweater. In another video, N^o13 Basics, a narrator lets me know that we’re in an apartment in Paris where several friends have spent the day together “wearing sweaters, bodysuits, trousers and customized Levi’s jeans” as if they were their own.

There is nothing precious about Bless. Bless is a project that presents ideas about living. There is no lifestyle to buy, you must bring your own. As their modest iWeb page says, FITS EVERY STYLE.

REVIEW: Apartamento Magazine

Martine Syms — Thu, 17 Dec 2009 21:05:57 +0000

Apartamento Magazine #4

Apartamento Magazine, a bi-annual interiors journal, began in 2008, but seemed like folklore to most stateside bibliophiles, as it was incredibly hard to find. They had no known US stockist. Issue #1 was totally and completely sold out forever within months of its release. Post Poetics had Issues #2 & #3 for a while and I would frequently look at the page, tempting myself to buy the magazine, but the $30 international shipping permanently deterred me.

The first time I held Apartamento in my hands was just two months ago. A friend let me borrow a few of the past issues. It was as gorgeous in person as it looked in the photos I’d seen online. Thanks to art direction from designer Omar Sosa of Folch Studio and photographer Nacho Alegre, Apartamento is an object of immense beauty.

Interview with renowned designer Enzo Mari

Issue #4 features watercolors of artist studios (Julian Schnabel, Jeff Koons, Kiki Smith) by Grillo Demo, an interview with CFDA award winning jewelry designer Philip Crangi’s about his New York factory, an essay by Chloe Sevigny about her “70s preppy Connecticut” apartment, a photo tour of Kim Gordon and Thurston Moore’s Northhampton home, and a kids supplement curated by Reference Library’s Andy Beach with contributions from Geoff McFetridge, Enzo Mari, and more.

With the tagline “an everyday life interiors magazine,” I was expecting Apartamento to be a sneak peek into regular, real normal, everyday interiors. My tiny apartment, a bus driver’s home, the tenants who have lived in the same building for over 30 years. Apartamento is kind of like that, except if those things looked ten times better.

Issue #4 is OUT NOW and available worldwide through Bruil.

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