Work by Matt Brett, Houston Cofield, Colleen Kiehm, Melissa Myser.
Gallery 400 is located at 400 S. Peoria St. Reception Friday, 5-8pm.
Work by Clare Britt.
SideCar is located at 411 Huehn St., Hammond, IN. Reception Saturday, 5-10pm.
Work by 300 SAIC undergraduate students.
Sullivan Galleries is located at 33 S. State St. 7th Fl. Reception Saturday, 12-6pm.
Work by Martin Murphy.
Aspect/Ratio is located at 119 N. Peoria St. Reception Friday, 6-8pm.
Work by Kyla Mallett.
Paris London Hong Kong is located at 845 W. Washington Ave. 3rd Fl. Reception Friday, 5-8pm.
Work by Regina Mamou.
City Gallery in the Historic Water Tower is located at 806 N. Michigan Ave. Reception Friday, 5:30-7:30pm.
Conversation with author Lane Relyea, moderated by Duncan MacKenzie with Shannon Stratton and Abigail Satinsky.
threewalls is located at 119 N. Peoria Ave. Reception Friday, 6:30-8:30pm.
Work by Rory Coyne and Lauren Levato Coyne.
Century Guild is located at 2136 W. North Ave. Reception Saturday, 7-10pm.
Work by Meg Duguid, Bruce Conkle, Micki Tschur, Paul Mack, Mariano Chavez, Sarah Beth Woods, Marie Walz, Scott Wolniak, Sabina Ott & Michelle Wasson, Catie Olson, Andy Pizz, Eyeball Mansion, Nick Drnaso, Sarah Leitten, Andy Gabrysiak, Scott Anderson, Taylor Hokanson, Paul Somers, Edra Soto, Ryan Standfest, Bert Stabler, Matthew Novak, Kevin Budnik, Jeffrey Boguslawski, Ryan Travis, Christian Lars, Bra Jim Zimpel, Tom Torluemke, Tim Ripley, Eric Lebofsky, Andy Burkholder, Erik Lundquist, Krystal Difronzo, Marieke McClendon, Lyra Hill, Alyssa Herlocher, Joe Tallarico, Chris Cilla, Andy Gabrysiak, Chris Kerr, Keith Herzik, Kevin Budnik, Jason Robert Bell, Abe Lampert, Ryan Travis Christian, Jo Dery, David Alvarado, Ryan Standfest, EC Brown, Grant Reynolds, Max Morris, Otto Splotch and Anonymous.
Antena is located at 1755 S. Laflin St. Reception Friday, 6-9pm.
Curated by Ginger Krebs.
Sullivan Galleries is located at 33 S. State St. Reception Friday, 5-7pm.
We are in the midst of a winter festival. Its occasions take place at a variety of locations across the city, featuring a variety of performance artists from all over the world. In each case, the art work at hand is dynamic and ephemeral; the culmination of hours/months/years of work fit into a small, public window of time. Audiences come to experience that time-concentrate and in so doing are transported. Born in the UK, Chicago-based performance artist,Â Mark Jeffery,Â is similarly invested in temporal, aesthetic exercises. Over the course of his career, he has a regularly incorporated collaboration and experimentation into his work. It seems fitting that he would address curation as well, opening the field of performance into an administrative capacity. The result is a bi-annual festival, IN>TIME. There have been two other iterations of this festival, in 2008 and 2010 â€” both of which were co-curated by Sara Schnadt and took place at the Cultural Center. This year Jeffery has expanded the scope of the project, curating roughly 26 different events at 15 different venues from January 11th – March 2nd, 2013. I wanted to ask Jeffery about the origins of this bi-annual festival, as well as how it fit in with his overall practice as an artist.
Caroline Picard: Can you talk a little bit about how IN>TIME 13 came together?
Mark Jeffery: There have been two previous editions of IN>TIME in 2008 and 2010 at the Chicago Cultural Center that I co-curated with artist and Chicago Artist Resource webmaster, Sara Schnadt. Sara has since now moved to Los Angeles, but during the summer and fall of 2011, before Sara left, we discovered that our contact at the Cultural Center, lost her job. At the time there was no support for this program to continue. As a result, we considered how we could expand this festival from a one-night event at the Cultural Center to a multi-venue festival throughout the city of Chicago. We were both excited to contact and connect with local venues and spaces that we already respected for their public programming of performance, symposia, exhibition, talks, and/or readings â€” spaces that already had an affinity towards IN>TIMEâ€™s desire to showcase performance practices in the broadest terms. We met with curators, directors and programmers of spaces in their venues, at the Palmer House, on rooftops of hotels, in phone conversations, in meeting rooms to discuss the possibility to program work in the winter of 2013. What we didn’t expect when we cast this net was that the community would be equally excited to focus their programming on performance, giving an extended platform to this experimental form.
CP: Does IN>TIME reflect on your own orientation/aesthetic agenda as a performance arts practitioner?
MJ: I was a member of the performance group Goat Island for 13 years and have collaborated with Judd Morrissey for the past 10 years. I take collaboration and working with fellow artists very seriously. I learn so much from working with others and during my time of making performance work I have had multiple opportunities to be in many diverse and interesting contexts to present my work since 1994. For me, I grow from conversation. I learn from working with others and I see that permission, openings and discovery happen when doors are opened. I think I discovered this as a student at Dartington College of Arts from my teachers Sally Morgan, Sally Tallent, Nancy Reilly, Rona Lee, Gillian Dyson, Roger Bourke and Tim Brennan. My teachers gave me access to being curious, to being open, to allowing my voice to grow, to not be isolated, but to discover other artists and other ways of working through connecting with others.
In Goat Island I leant from my fellow collaborators and performers and director Lin Hixson to open up a space, even if this was an uncomfortable risk. In coming to America, and in the ending of Goat Island in 2009, I suddenly had to be on my own feet, here in this Midwestern city, as an Assistant Professor in Performance Art. I had to be engaged. I had to become an adult. I had to share my knowledge of the spaces, networks and connections I had made now over the past 20 years.
Chicago is my home, it is a place where I can engage through teaching, through making, through performance and exhibitions â€” and now also through curation, as another way to open up spaces for? collaboration. I am grateful to be here and I am grateful that 14 venues are willing and interested in working with each other to make this dream come true. For the 2008 edition of IN>TIME Sara gathered a group of makers, curators into the Chicago Cultural Center in the summer of 2006. At that time I remember saying that I would love to see how we as a city could have a multi-venue performance art festival, similar to the one where I was first curated into in 1994 as a 21-year-old in Glasgow by Performance Art Curator, Nikki Milican and her National Review of Live Art Festival. Now, seven years later we have arrived.
CP: I am always suspicious of generalizations about localized styles or approaches to a given medium, but specific environments seem to facilitate peculiar dialogues. I have heard, for instance, that New York art performance is more integrated with dance, or that Europe is more open to experimental works. I don’t know if those comments are true or not, (they certainly came out of casual and speculative conversations) but I’m interested in whether or not you feel like Chicago has a particular conversation of its own. Does IN>TIME 13 respond to that at all?Â
MJ: Good question. I remember being in the library as a 19 year-old at Dartington College of Arts studying Visual Performance in the UK, (Dartington was a similar place / space to Black Mountain College). In the library I would read the High Performance and P-Form journals and read reviews about performance in Chicago. In 1996 I came to Chicago for the first time to join Goat Island Performance group. For me the roots of performance came from reading those articles, from being part of Goat Island and seeing the trail end of Randolph Street Gallery â€” a non-profit performance/gallery space here that ended I believe in 1998. In the past 15 years that Iâ€™ve been here, I have seen some extraordinary work from performance makers in their studio performance spaces and venues here with Lucky Pierre, Dolores Wilber and her collective, Julie Laffin, Joe Silovsky, Cupola Bobber,Joan Dickinson, Larry Steger, and more recently Erica Mott, Justin Cabrillos, Joseph Ravens and Peter Carpenter. Â More recently I think of Chicago as a place for experimentation, a place for artists to really explore and test rigorous ideas. It is a place for research to take place, and for non-traditional, informative intersections and overlaps that to spring up unexpectedly via collectives and collaborations. That is what I get excited about. My training at Dartington and also in Goat Island taught me to be open, to be curious, to not be hierarchical, to give permission, to open up new spaces. I am about to hit 40 in 4 months and to have known this practice now for over 20 years and still be working: thatâ€™s is what I am grateful for. Performance is a medium that is forever shifting, one of the things for me about coming to Chicago and living and working in America is that things can happen. I am ambitious and a workaholic and in a funny way I am thinking of this festival as my mid-life crisis! (this is my sense of humour btw). Sometimes you have to give yourself permission to ask and see what is out there. I am lucky now to be here two decades into this practice and that when I ask certain things, like a 14 venue performance festival where hybridity, where venues that wouldn’t normally work with each other have an opportunity for exchange, for dialogue and conversation. Where doors open and the container of performance can be a storefront gallery, a video installation, a reading, a movement art endurance work, a reenactment, a meeting between museum spaces, schools, galleries, DIY spaces.
CP: How did you go about organizing the programming?Â
MJ: The programming of the festival came firstly from Sara and I meeting with all the venues in the summer and fall of 2011 and then slowly from there having conversations to see about what would be the best fit for each of their spaces. Some venues suggested if a particular artist would be a good fit for the festival in regards what they were already considering, venues like the Dance Center of Columbia College with Zoe I Juniper or Museum of Contemporary Art with Miguel Gutierrez and Threewalls with Mary Patten and Mathew Paul Jinks. All the venues have really exciting work that will enter their spaces and showcasing incredible talent. I am excited about the three venues I have just mentioned in the openings these spaces can present these artists. I am also excited to see how these artists present their work here in Chicago. These are highlights, other highlights for me are being able to go back to the Cultural Center and have the US premier of Spanish, Swiss based artist Maria La Ribot perform her 5 hour work Laughing Hole. I have never seen her work live but have followed her work closely with a video work of hers I show in the classroom, a documentary called La Ribot Distinguida filmed at the Tate Modern in London and the Pompidou in Paris. Through the new director of Performing Arts, Shoni Currier at the Chicago Cultural Center we are able to showcase her work. Also at Joseph Ravens Defrillator performance gallery we are able to bring Singaporean artist Lynn Lu, she will share an evening with British visual art poet cris cheek from Ohio and two emerging local artists Kitty Huffman and Hope Esser. Croatian Movement Art Group OOURR, local dance artist Peter Carpenter will be on the same bill and have been excited to follow him theseÂ past two years. at Links Hall local Chicago Artists Every House as a Door, Erica Mott and Trevor Martin, Hyde Park Art Center and having artists in residents Minouk Lim from Korea and Croatian born London-based Vlatka Horvat.Â The challenge to me is to keep curious and to put things together that normally wouldnâ€™t be together in a program. I like group exhibits where experimental forms of performance, movement. Language, actions, durations, emerging, established can come together. Again, to me this comes from my training and also wanting to connect people. The curator / caretaker is first to open up a space and the last to leave.
CP: Maybe because the title of your festival is IN>TIME, I’m reminded of the ephemerality of performance, and various conversations I’ve picked up on peripherally about how to document performance, how the documentation can eclipse the performance itself as an art object, or what happens to a piece when it is recreated in a different time and context, by different performers. I realize those conversations are vast and intricate, but it occurred to me that you might be negotiating some of those as an organizer, putting together a multi-faceted, multi-venue festival. How you have been dealing with documentation?
MJ: Last week eight students at the School of the Art Institute of Chicago worked with London Based artist Kira O’Reilly with the three-week visiting artist class called FROZEN IN>TENSITIES that is a course driven exhibit at SAIC. Each week there is a presentation at SAIC of the work they have been doing with the artists. With Kira the students found an old filing cabinet that has been in the green room this past semester. The filing cabinet was full of files that is an archive of the performance department when it was being chaired by the departments founder Tom Jaremba and former chair and now Graduate Division Chair, Werner Herterich. I site this filing cabinet as it became both a rich treasure trove of correspondence and a source of material for students to respond to. There were files from Linda Montano for example, and Alistair MacLennan when they visited the department. This cabinet has been making me think about how do we document our lives now in 2013. What are our filing cabinets? How do we store and retain this information, this memory of being here, especially with performance? For the class we also have 3 rooms in the Sullivan Galleries, and so we are also having this conversation about the document, of how to archive what remains. It becomes an exciting challenge. Yesterday I helped Sabri Reed, the teaching assistant for the class, take the filing cabinet on a cart from the Columbus Drive building to the Sullivan Galleries. It was quite unwieldy and heavy, but became this opportunity to walk and mark those moments of exchange spanning the past 30 years across Monroe Street. The students are also going to insert a record of their work in the class into a file and put it back into the filing cabinet for the exhibit and this will remain.
Last week I also renewed the Goat Island website as it was going to run out, the domain name in five days or something. This position between the physical and the virtual, the mixed reality of archive and document is a really interesting question for me. If we don’t maintain the upkeep of our websites what does remain. What are our filing cabinets of 2013?
CP: This image of time keeps coming back…
MJ: To me this is an experiment. Since 2006 I have also been curating and have developed series of OPENPORT A performance, sound and language festival (2007) co â€“ curated with Nathan Butler, Judd Morrissey and Lori Talley at Links Hall, Intimate and Epic (2006) co â€“ curated with Sara Schnadt in Millennium Park and The Simulationists (2011) co â€“ curated with Claudia Hart and Judd Morrissey at SAIC as well as the IN>TIME series. Time becomes an important thing and I often think about how to stamp time now as it moves so quickly (the 40 thing again ;)) – yet, if you take time to make something, I think something can come through and with Sara and I meeting all the venues 18 months ago, the results of this time has come through. I come from a father who was a herdsman who milked 200 Friesian cows each day, woke at 5 and worked till 8, seven days a week. A life’s work, working for over 30 years on the same farm. There is something in building a life through projects, through ritual, through time that you can get a lot done and through the creative make a place and space for opportunity to enter. Again for this I am grateful and I always thank my teachers for giving me the space, time and attention. You work towards something to thank them.
Further Information: Â http://www.in-time-performance.org/
December 14, 2012 · Print This Article
Upon entering the exhibition space of “Mythologies,” an excellent showing of artwork produced by six young artists at The School of the Art Institute of Chicago’s Sullivan Galleries, the eye is almost instinctually drawn to the bold, blood red palette of Rashayla Marie Brown‘s video installation “Puro Teatro (Coming to Theatres).” Projected large upon the far wall of the gallery, the single-shot, still-frame video elegantly documents what appears to be the meditative staging of a soon to occur evocation. Brown’s hands extend from beyond the frame to light three white votive candles placed in a triangular formation on the red surface, later joined by the slow setting of a steel incense burner, rosary beads, and the black winding cord of a microphone. The video is accompanied by the tune “Puro Teatro,” meaning ‘pure theatre,’ performed by Latin soul and salsa singer La Lupe in the 1960s. La Lupe was a known practicer of SanterÃa at the time of the song’s recording, and the romantic drama of her singing coupled with the ritualistic imagery Brown has produced certainly evokes the sensation of saints being summoned.
Indeed, preceding the video spatially are three artworks intent on making explicit the theme organizing the included artworks altogether: a contemporary consideration, and continuation, of black aesthetics from a political, art-historically informed subject-position. “Black Motif,” a 7 by 6.5 foot mixed-media painting on cotton by Cameron Welch, features a golden, protruding mask in the style of African ancestral objects (or commercial knock-offs thereof) surrounded by layered, clashing colors and patterns of different kente cloths that the artist has painted asymmetrically into a patchwork composition. Neighboring the painting is “All American (Banner Series)” by Alexandria Eregbu, a triptych of bedazzled vinyl wall-hangings heralding famed contemporary black artists Kara Walker, Kehinde Wiley, and Mickalene Thomas as though they are college sports stars. Mirroring these works is “Pomba Gira (Deja Vu),” an installation by Brown replicating the aesthetic of her aforementioned video in three dimensional form, but instead featuring a vinyl LP copy of Beyonce and Jay-Z’s hit song “Deja Vu” suspended over two self-portraits the artist intentionally produced in the style of Lorna Simpson.
Images of earlier, though none too far gone, eras permeate throughout “Mythologies.” Elsewhere in the exhibition, Welch paints black and white appropriated civil rights era imagery for the diptych “Misspelled Aggression,” hanging the companion artworks across from one another like mirror images. Scrawling the words ‘nigga please’ over a photorealistic rendering of civil rights leader Stokely Carmichael mid-speech, and the words ‘nigger police’ over an image of attack dogs being used against black protestors in the 1963 Birmingham, AL, “race riots;” Welch’s large-scale paintings of bold aggression (both state-sponsored and grass-roots resistant) make enormous and unavoidable the persistent issue of racial violence and the failures of binary ‘riot vs. revolution’ understanding. Photographer David Alekhuogie similarly investigates the mediation of racial violence, but with more of a critical orientation towards the marketing and mass-manufacture of stereotyped black male aggression. In a stunning photo simply titled “Beef,” Alekhuogie places a super-sized McDonald’s cheeseburger (and Monopoly themed bag) at the center of two posters hanging on a deep blue bedroom wall, one of Notorious B.I.G. and the other featuring Tupac as the star of the 1992 gangsta film Juice. The work produces a thoughtful visual metaphor for the corporate profiteering of engineered black-on-black violence. In the exhibition’s most contemporary reference, Alekhuogie places a mass-produced ceramic head labeled ‘Africa, Cameroon’ purchased from a local art supply store, featuring generically racialized facial characteristics, within a pale grey hoodie now indissociable from the image of Trayvon Martin for a photograph the artist provocatively titles “Self Portrait (Africa, Cameroon).”
It is a compelling commingling of artworks: expansive in its time-lapsing pastiche of (art-)historical and pop-cultural references, polymorphous in its inclusivity of art forms (video, painting, textile, photography) typically segregated museologically. Additionally, “Mythologies” adds an interesting, youthful dimension to conversations currently about the importance and relevancy of identity-themed group exhibitions at a time when post-structural criticality and neoliberal pipe-dreams of being ‘post-whatever‘ threatens to make irrelevant concerns over specific authorship. This is particularly so in the wake of the much maligned New York Times review of “Now Dig This! Art & Black Los Angeles 1960-1980” at MoMA PS1 by critic Ken Johnson, who reductively oversimplifies the insurgent artistic strategies of assemblage (while assuming it to be an exclusively white tradition) and insipidly criticizes a portion of that show for perceived failures in the Modernist ideal of universal aesthetic communication, as though that’s the primary artistic motivation behind producing (and promoting), for instance, gnarly, gorgeous, challenging artworks made with detritus collected from the Watts Rebellion.
What the content of “Mythologies” seem to be suggesting, instead, is that the formation of group exhibitions linked to the theme of identity offers a powerful means by which to outline, preserve, contextualize, build upon, and (as this exhibition especially makes clear) assert one’s own artwork as participating within a specific aesthetic lineage. This is, perhaps, why Beyonce and Jay-Z’s “Deja Vu” on vinyl (something contemporary being delivered through the media of an earlier era) makes for such an ample metaphor within Brown’s Lorna Simpson-quoting installation, and for the entire exhibition furthermore. It is why Welch’s and Alekhuogie’s respective aesthetic investigations of the evolving mass-mediation of racial violence transcend disciplinarity. It is also why the tongue-in-cheek cheeriness of Eregbu’s banners feels so sincere, if also abundantly fan-girl self aware. The works seem produced as knowing, generative gestures of willful apprenticeship derived from self-tailored canons of influence made available and immediate, at last.
“Mythologies,” featuring the work of David Alekhuogie, Rashayla Marie Brown, Alexandria Eregbu, Christina A. Long, Hannah Rodriguez, and Cameron Welch, is open now through January 8, 2013, at The School of the Art Institute of Chicago’s Sullivan Galleries (33 S. State Street, Seventh Floor).
Work by College for Creative Studies students Austin Brady, Megan Leigh Jessup, Sean Maxwell, Tom Burns, Fatima Sow, Andrew Mehall, Maggie Kozma, Benjamin Thompson, Eric Maurer, Kristina Sheufelt, Shaina Kasztelan, Jen Wang, Leucochloridium Paradoxum, Joanna Marie Care, and Jordan Stohl.
6018 NORTH is located at 6018 N. Kenmore Ave. Reception Saturday, 5-9pm.
Work by Anastasia Chatzka, BEERY/KARP, Carl Moberg, Catie Olson,EC Brown, Jonathan Ozik, and Tom Burtonwood.
New Capital is located at 3114 W. Carroll St. Reception Friday, 7-10pm.
Work by Marissa Lee Benedict and Brittany Ransom.
Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, 6-9pm.
Work by David Alekhuogie, Rashayla Marie Brown, Alexandria Eregbu, Christina A. Long, Hannah Rodriguez, and Cameron Welch.
Sullivan Galleries is located at 33 S. State St. 7th fl. Reception Friday, 4:30-7pm.
Work by Sam Jaffe.
65GRAND is located at 1369 W. Grand Ave. Reception Friday, 6-9pm.