The Bad at Sports crew is joined by Azadeh Gholizadeh. Her works explore the body, landscape, and the fragmentation of memory. Her works use weaving and needle work to generate and worry her images and objects. The works call to mind a powerful connection to place and dismantle that connection through a glitchy digital memory and build towards a reassembled experience. Azadeh Gholizadeh is a Chicago-based artist and educator, and a 2022 Artadia awardee.
Splitting her time between Spain and Chicago, Selva Aparicio is a research based interdisciplinary artist, whose work includes sculpture, installation and performance. On today’s episode of Bad at Sports Center, Jesse and Ryan speak with Selva following the announcement of her 2022 Artadia Award. We discuss the origins of her medical research, the ethical means by which she sources her materials, and the context of community and place in her practice.
On today’s harrowing episode of Bad at Sports Center we are back in the WLPN studio (and we brought our old mixing board bumbles with us)! Polish-born artist, Inga Danysz, and gallerist, Hayes Riley, join Jesse and Ryan to discuss Danysz’s solo exhibition In Ancient Rome at Good Weather. We discuss the materiality and ontology of Danysz’s sculptural sarcophagi, and our orientation to the physical and metaphysical space they delineate. We also accept the fact that puns have been and will continue to be a part of our process.
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Everything Must Go, so let’s. Jeffrey Michael Austin — interdisciplinary artist and musician — joins Ryan Peter Miller and Jesse Something Malmed to talk about their reflective new exhibition at the Chicago Art Department. Hope in the dark, illusion, allusion, elusiveness, late capitalism, climate crisis, the collective, the needing-tending, the tenderness of a phrase like *help wanted* and enduring questions of scale and capacity guide our winding conversation. What else?
Bad at Sports welcomes Ashanté Kindle and Josie Love Roebuck from LatchKey Gallery and their exhibition “CROWN” at Expo Chicago 2022.
Working from a place of healing, “CROWN” explores and rejoices in the legacy of Black hair. The exhibition, named after the CROWN Act – a law that prohibits race-based hair discrimination which is the denial of employment and educational opportunities because of hair texture or protective hairstyles including braids, locs, twists or bantu knots – luxuriates in the scope, range, beauty, and legacy that is black hair.
