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Cosmological Plants / Corvus corax / To Speak of Future Delights

Second Annual Festival of Poets Theater: Night 1

Between December 7th and December 10th Green Lantern Press and Kenning Editions will present a Festival of Poets Theater at Sector 2337 (Dec. 7th, 8th, and the afternoon of the 10th) and Links Hall (Dec. 9th and 10th). The festival features 3-4 events each evening beginning at 7pm and a symposium on Saturday afternoon beginning at 2:00pm.

Passes for the festival are available here.

6pm: Reception for Early Ticket Buyers

7pm: Cosmological Plants by Michael Pisaro

Cosmological Plants is a dance with music and a poem aligned to the maps of three constellations in the November sky.

Michael Pisaro is a guitarist, composer and a member of the Wandelweiser collective. His music is performed frequently in concerts and festivals around the world. Recordings of his work (solo and collaborative) have been released by Edition Wandelweiser Records, erstwhile records, New World Records, another timbre, slubmusic, Cathnor, Senufo Editions, winds measure, HEM Berlin and on Pisaro’s own imprint, Gravity Wave. Before joining the composition faculty at the California Institute of the Arts, he taught composition and theory at Northwestern University.

7:45pm: Corvus corax by Joseph Clayton Mills

A composition for tape recorders, cassette loops, dictaphone, typewriter, and suitcases, Corvus corax takes as its raw material Patrick Farmer’s prose poem Wild Horses Think of Nothing Else the Sea (SARU 2014).

Joseph Clayton Mills is a musician, artist, and writer who lives and works in Chicago. His text-based paintings, assemblages, and sound installations have been exhibited in Chicago, New York, and Europe and his work has appeared in numerous publications, including The New Yorker. He is the author of the short-story collection Zyxt, and in 2012 published Nabokrossvords, a translation of early Russian crosswords by Vladimir Nabokov. He is an active participant in the improvised and experimental music community in Chicago, where his collaborators have included Adam Sonderberg and Steven Hess (as Haptic), Michael Vallera (as Maar), Noé Cuéllar (as Parital), Sylvain Chaveau, Jason Stein, Michael Pisaro, and Olivia Block, among many others; his recordings have appeared on numerous labels, including Another Timbre, FSS, and Entr’acte. In 2013, in conjunction with Noé Cuéllar, he launched Suppedaneum, a label focused on releasing scores and their realizations.

8:45pm: To Speak of Future Delights

Two images provide a portal to the other side of the world. A lecture delivered in performative typing and voiceless montage.

Kevin B. Lee is a filmmaker and critic based in Chicago. He was named one of the Chicago New City Film 50 in 2013 and 2014. He received an MFA in Film Video New Media and Animation and an MA in Visual Studies from the School of the Art Institute of Chicago.

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for_twovocalists / DORA/ANA/GUATAVITA / The Brig

Second Annual Festival of Poets Theater: Night 2

Between December 7th and December 10th Green Lantern Press and Kenning Editions will present a Festival of Poets Theater at Sector 2337 (Dec. 7th, 8th, and the afternoon of the 10th) and Links Hall (Dec. 9th and 10th). The festival features 3-4 events each evening beginning at 7pm and a symposium on Saturday afternoon beginning at 2:00pm.

Passes for the festival are available here.

7:00pm: for_twovocalists by Nathanael Jones w/ Beth McDonald and Neal Markowski

Well, what does the title tell us? for_twovocalists. Let’s begin with the easiest part: “twovocalists.” A compound word of sorts. First a “two,” which unequivocally refers to the “vocalists”—there are two of them. Additionally, “vocalists” can be broken down further into the words vocal (relating to the human voice), and lists (a number of connected items or names). Together, they give us an idea of what to expect. Then there is the “for,” a preposition in this case. Preceding the compound word “twovocalists,” we understand it to mean that something is in support of/supporting the vocalists, or, that it is on behalf of/to the benefit of them. This is comforting. Lastly, we have the underscore. This is the most difficult part. It is a holdover from the typewriter, where it was used to underline sections of a typed text. In the digital age, it has come to find a wide variety of uses (email addresses and ASCII art being among the most popular). The greatest puzzle here then is to ascertain why a typographical element used to give emphasis should be place beneath an empty space.

Nathanael Jones is a Canadian artist/writer based in Chicago, where he is an MFA in writing candidate at SAIC. He has exhibited and performed work in galleries and alternative spaces in Halifax and Chicago, and his writings have been published in the Cerealbowl Collective and Hound. Beth McDonald is a classically trained tuba player gone awry, performing mostly electroacoustic music, free improvisation, and contemporary classical music. She currently performs with Korean Jeans, the Callithumpian Consort, cbs trio, and Seraph Brass, and enjoys working collaboratively with local artists, performers, and composers. As Artistic Director of the August Noise JP concert series, she worked to bring unexpected music to public spaces and to engage her fellow musicians in their community. She works behind the scenes at the Callithumpian Consort (Boston) and Piano Power (Chicago).

Neal Markowski is a composer and multi-instrumentalist based out of Chicago, IL.  He currently plays in a number of groups on a variety of instruments, but mainly on either drum set or guitars or tapes of various sorts.  Neal received his BM in Composition from the New England Conservatory, Boston, MA and his MFA in Studio (within the Sound Department) at the School of the Art Institute of Chicago.

7:45pm: DORA/ANA/GUATAVITA by Jenni(f)fer Tamayo

DORA/ANA/GUATAVITA is a science-fiction performance text set in the Lake Guatavita sector of the Colombian Andes. In this dystopian future, the text reimagines the children’s cartoon character, Dora the Explorer, as La Dora/da, a descendant of the mythological character, El Dorado, or the “gold one.” In this absurdist melodrama, La Dora/da comes into collusion with Andr0id Jenn1fer Tamay0-0, a cultural terrorist whose first act of state defiance is to conduct an unsanctioned search for the remains of their grandmother, an act considered illegal in this futurescape. Through a series of semi-discrete acts, or “Breaths,” La Dora/da and Andr0id Jenn1fer Tamay0-0’s come into contact with Ida Bauer (Sigmund Freud’s “Dora”), a Chorus of Floras, and ultimately Mamá Chava, the Andr0id’s ancestor.  In this radically hopeful, world-making “hybrid” text (including video, drawing, photography and movement), poet-performer Jennifer Tamayo examines what it means to decolonize our process for (self) discovery and surfacing lost lineages.

Jennif(f)er Tamayo is a queer, latinx, formerly undocumented, Colombian-born educator, artist and essayist. JT is the author of RED MISSED ACHES/RED MISTAKES/READ MISSED ACHES/READ MISTAKES (Switchback, 2011), POEMS ARE THE ONLY REAL BODIES (Bloof Books, 2013) and YOU DA ONE  (2014/16 reprint Noemi Books & Letras Latinas).  Her writing has been featured widely, including Poetry, Best American Experimental Poetry, Angels of the Americlypse: An Anthology of New Latin@ Writing, Bettering American Poetry Anthology and Apogee. She holds fellowships from CantoMundo and the Hemispheric Institute of Performance and Politics. Currently, JT is a PhD student at University of California-Davis Performance Studies program as a Cota-Robles Fellow.

8:45pm: The Brig, by Kenneth Brown, Living Theatre production filmed by Jonas Mekas

Judith Malina and Julian Beck’s Living Theatre had spent over a decade producing plays written by high modernist poets when along came Kenneth H. Brown’s script The Brig. Their 1963 production of this brutal, minimalist day-in-the-life of a military prison marked a pivot point from poets theater to experimental agit-prop, inspired by the methods of Antonin Artaud’s “theater of cruelty” and the measures of avant-garde verse. New York underground film legend Jonas Mekas’ rarely screened film of the Living Theatre production puts viewers perilously in the midst of the action.

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We Just Don't Know - Finding Ways to Loosen Certainties

A Seminar with Kate McIntosh

On January 17, 2017 at 6PM at Sector 2337 (2337 N Milwaukee Ave., Chicago IL 60647)

At this seminar, the group is offered an experiment in thinking. Our questions circle around the apparent clash between the logic of scientific thinking and the imagination of the arts — and how these might disturb and stimulate each other. Both science and art rely heavily on metaphor to concretize abstract ideas — and these metaphors become necessary invitations to re-examine our understanding of reality. The way we name things, and our freedom to do so, is key to our perception of the world. Therefore to engage in any major shift of world-view (or to stimulate one), it is essential that we are skilled and flexible in our use of metaphor — in our naming of things…

How can an artistic thought process be disturbing and useful for our factual, inventive and scientific ideas? What is a healthy suspicion of the poverty of metaphors? What happens when we attempt to ‘show’ what we ‘know’?

In this seminar Kate McIntosh gives an individual and playful provocation on these questions. The event begins with a performance lecture, and concludes with an investigative experiment-game for the participants.

Concept, text and delivery: Kate McIntosh

Originally commissioned by PACT Zollverein (DE) for the ‘Explorationen 10’ conference. This event is co-produced with The Goethe-Institut.

 

Kate McIntosh is an artist working across the boundaries of performance, theatre, video and installation. From New Zealand and originally trained in dance, she has performed internationally since 1995 – appearing in the work of directors such as Wendy Houstoun (UK), Meryl Tankard Australian Dance Theatre,  Cie Michèle Anne de Mey (Belgium), Random Scream (Belgium), Simone Aughterlony (NZ/Switzerland) and Tim Etchells (UK).

Since 2004 Kate has focused on directing her own work – including the solos All Natural(2004), Loose Promise (2007), and All Ears (2013) and the larger performances Hair From the Throat (2006), Dark Matter (2009) and Untried Untested (2012). Her installation works include De-Placed (2008 with Eva Meyer-Keller), and the participatory installation Worktable(2011). In her own work she has enjoyed collaborations with Tim Etchells, Eva Meyer-Keller, Jo Randerson, Lilia Mestre, Charo Calvo, Diederik Peeters, and many more.

Kate has directed several short videos which have played at festivals and exhibitions the world over. She was a founding member of the Belgian performance collective and punkrock band Poni, and she holds an MRes in Performance and Creative Research from Roehampton University (UK).

 

She is a founding member of SPIN: the artist-run production and research platform based in Brussels.

For further information about her work please see www.spinspin.be gi_logo_vertical_green_srgb