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Saturday Performances

From The Sea is Represented by an Irregular Shape

On Saturdays between February 13th and March 12th at 2:30pm, Mark Booth, along with visiting artists, will present his opera The Sea is Represented by an Irregular Shape. Doors open at 2:00 pm. This event is free.

This performative installation is produced by The Green Lantern Press as part of IN>TIME 2016, a Winter Long, City Wide, Multi Venue Performance Festival for Chicago (January 29th – March 4th).

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As part of Mark Booth’s installation, The Sea is Represented by an Irregular Shape, Sector 2337 is proud to present a series of performances of the work featuring various artists from Chicago and across the United States. Each Saturday’s performance begins at 2:30 and continues until read through a selection of the chain of Booth’s entangled metaphors. In keeping with the construction of the work, each Saturday a longer chain of metaphors is read, so the performance slowly grows from an hour to six hours through February and March. Backed by musicians, singers, shape arrangers, and shape creaters, as the constantly changing performers read their way through the metaphors the supreme stillness of Booth’s formal decisions highlight the work’s strangely conscious inward movement. Cosmic in scope and stoic in its ethics, The Sea is Represented by an Irregular Shape is an opera for our ecological age.

Approximate Run Times:

February 13th: 2:30-3:30 pm

February 20th: 2:30-4:30 pm

February 27th: 2:30-5:30 pm

March 5th: 2:30-7:00 pm

March 12th: 2:30-8:00 pm

Mark Booth is an interdisciplinary artist, sound artist, writer, and musician. His work in text, image, and sound explores the material qualities of language, as well as the ways that language functions (and does not function) to describe human experience. Having learned to read and navigate the world as a dyslexic, Booth uses his work to make sense of his own disjointed experience with words and meaning. His art is simultaneously grandiose in scope (attempting (and failing, of course) to describe the entire spectrum of human existence) and comically quotidian. Booth is on the faculty of the School of the Art Institute of Chicago. He has exhibited and performed his work in Chicago, nationally, and internationally in a variety of known and obscure venues.

The 4th edition of IN>TIME Festival is a convergence of performance practices in Chicago. IN>TIME collaborates with 18 venues that range from museum to gallery to DIY spaces. It is borne from deep engagement: engagement with local performance practices, with friends and artists internationally, with structures and concepts of performance itself. It has evolved from a biennial to a triennial festival, encompassing venues all over Chicago, and pieces ranging from dance to performance art to experimental theatre. It’s IN>TIME because it comes just in the dead of winter, when things seem bleakest; because it provides a snapshot of what is happening in contemporary performance right now; because performance is a time-based medium that required that we all be present with one another. IN>TIME is a coming together for a moment within performance.

MRB Chelko / Anthony Madrid / Sarah Stickney

On Saturday February 20th MRB Chelko, Anthony Madrid, and Sarah Stickney will give readings. Doors open at 6:30 pm. This event is free.

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MRB Chelko is the recipient of a Poetry Society of America Chapbook Fellowship for Manhattations (PSA, 2014). A faculty mentor in the low-residency MFA program of The New Hampshire Institute of Art, Chelko also serves as associate editor of the unbound journal Tuesday; An Art Project. Her recent work appears in current or forthcoming issues of Black Warrior Review, Cincinnati Review, Crazyhorse, Slice, Poetry International and other journals. She lives in New York City with her husband and three-year-old daughter. 

Madrid

Anthony Madrid lives in Chicago. His poems have appeared in Best American Poetry 2013, Boston Review, Fence, Harvard Review, Lana Turner, LIT, and Poetry. His first book is called I AM YOUR SLAVE NOW DO WHAT I SAY (Canarium Books, 2012).

Stickney

Sarah Stickney is a former Fulbright Grantee for the translation of Italian/Albanian poet Gëzim Hajdari. Her co-translations of Elisa Biagini’s selected poems, The Guest in the Wood, received the Best Translated Book Award for poetry in 2014. Her poems and translations have appeared both in the U.S. and abroad in publications such as La Questione Romantica, Rhino, The Portland Review, Drunken Boat, Mudlark, The Notre Dame Review, Structo and others. She lives in Annapolis, MD, where she teaches at St. John’s College.

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Noise Crush / The Fortieth Day / Aldo Tambellini

Noise Crush + The Fortieth Day  is a live performance collaboration between video artist Lisa Slodki and electronic band The Fortieth Day. Opening the performance will be a virtually transmitted poetry reading by Aldo Tambellini. This event is organized in conjunction with Bleeding Black Noise, a group exhibition in Sector 2337’s project space from Feb 12-March 11, 2016.

Lisa Slodki creates real-time performances and installations, often working in collaboration with the Chicago experimental audio and noise communities. Performing with The Fortieth Day under her Noise Crush moniker, Slodki generates VHS tape loops which are mixed live through a battery of VCRs to construct evolving projected superimpositions. Pulsating light of decaying VHS tape and manipulated found footage conjure familiar yet indiscernible images, and the fragility and resilience of both medium and perception. noisecrush.com

The Fortieth Day is the duo of Isidro Reyes and Mark Solotroff, both key players in the heavy-electronics outfit BLOODYMINDED, a band known for its aggressive and confrontational live shows. Solotroff is also known as the vocalist in the doom/shoegaze band Anatomy of Habit. In The Fortieth Day, Reyes and Solotroff utilize guitar, bass, drum machine, and analog synthesizer to create epic, blackened, psychedelic-industrial drone soundscapes, likened to “sustained, withering blasts of high-pitched noise that are as distinct from one another as spotlights sweeping across the night sky; jackhammer clatter, jet-engine whines, and forlorn keyboard melodies dart in and out of those huge sounds with the grace and impunity of plovers picking a crocodile’s teeth”  — Bill Meyer, Chicago Reader  http://www.last.fm/music/The+Fortieth+Day

Aldo Tambellini (based in Cambridge, MA) is an experimental artist working in performance, film, video, sound, painting, sculpture, and poetry. He is perhaps best known for his explorations of black, the color and surrounding concepts, and his electromedia performances. In the early 60s, he was a founding member of the counter-culture group Group Center and worked closely N.H. Pritchard, Ishmael Reed, Carla Black, and the Umbra poetry collective to create intermedia events—combining poetry, jazz, photography, choreography, and film-making. In the 60s, these events evolved into electromedia events, such as Black Zero (The Bridge, 1965; Intermedia ‘68 at Brooklyn Academy of Music; Performa 2009; Tate Modern, 2012) where he collaborated with Benn Morea, Ron Hahne, Elsa Tambellini, Bill Dixon, Alan Silva, and Calvin C. Herton, and the founding of The Black Gate Theater (1967).