Spring / Summer Exhibitions: Angelika Markul, Liz McCarthy, Noël Morical

Markul + McCarthy open Fri May 11 6-9pm

Although Sector 2337’s event program is slowing down for the summer months, we have two exhibitions up concurrently from May 11-July 29th. These include: Angelika Markul’s site specific video installation, If the hours were already counted curated by Caroline Picard will be on view in Sector’s main gallery (details about that show are available here); and Handles Expenditure, Liz McCarthy’s window installation curated by Sharmyn Cruz Rivera in the Shoebox Gallery of Sector’s storefront (more information about that project here). Additionally , Noël Morical’s exhibition Skiptracing curated by Sharmyn Cruz Rivera will be on view at Ace Hotel Chicago until May 3rd, 2018.

The Sector 2337 bookstore specializing in niche art publications, poetry, fiction, and comics is located in the rear of the space and will remain open during regular hours (Wed-Sat from 12-6pm + Sun from 12-4pm). All exhibitions are produced by the Green Lantern Press, a 501(c)(3) non-profit publishing house and art producer in operation since 2004. The Green Lantern Press is supported by the Chicago Community Trust, UBS, and through private donations. More information about that here.


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The VGA Reader presents Evan Meaney

The VGA Reader presents artist and contributor Evan Meaney’s ++ We Will Love You For Ever (2017), the first interactive VR work accessioned by the Video Data Bank. The artist will present the playable work and discuss his article “The Enemy of Expression: Production Notes on the Simulation of an Endless Place,” featured in the inaugural issue of the Reader. Copies of the VGAReader and VGA Gallery prints will be available for purchase.

Meaney describes the work:

“This is an experimental virtual reality artwork, and while it offers opportunity for interaction, calling this a game goes too far. It is a disappointment simulator, a best-artist-ever-all-the-time artist simulator, a hospice simulator. The experience speaks to the art making process, impostor syndrome, decay, archives on the moon, and a persistent exile.”

The VGA Reader is a peer-reviewed journal for video game audiences and video game practitioners interested in the history, theory, and criticism of video games, explored through the lens of art history and visual culture. Its primary aim is to facilitate conversation and exploration of video game art, documenting and disseminating discourse about the far-reaching influence of video games on history, society, and culture.

Evan Meaney is an artist and researcher, teaching new media practices at the University of South Carolina in the United States. There he serves as head of the Media Arts program with specialties in game design, interactivity, and experimental cinema. His creative work explores digital liminalities and glitches of all kinds; equating failing data to ghosts, seances, and archival hauntology. He has been an artist in residence at the Wexner Center for the Arts and the Experimental Television Center, a founding member of GLI.TC/H, and a contributor to the Atlantic. His time-based artworks are available through the Video Data Bank in Chicago. He used to say he was a scientist.

Rebecca Nakaba / Liz McCarthy

Closing event for If the hours were already counted + Handles Expenditure

Join us on July 28 from 6-9pm for the closing event for Sector 2337’s spring exhibitions, If the hours were already counted by Angelika Markul and Handles Expenditure by Liz McCarthy. Rebecca Nakaba will present writing that resonates with Markul’s installation in Sector’s bookstore. Afterwards, McCarthy and Jory Drew will present a live backyard performance, Pulling Handles.

Pulling Handles is a performance in response to Liz McCarthy’s installation Handles Expenditure. This performance explores the traditional method of pulling a handle, practiced and taught by potters for many generations in the United States, and earlier. By replicating this method, McCarthy explores how the body can manipulate material, but also perform as a material. This pulling handles performance exhausts and mutates this craft methodology through a repetitive and performative process, but also explores how altering traditions of crafting can be synonymous with subverting traditions of the body as a racialized, sexualized, commodified fragile material. Clay is often used within a craft tradition, with normalized ways in which the material is used and the forms produced. McCarthy considers many qualities of the body, as a mutable material and form, to share many attributes of clay.

About the performers:

Liz McCarthy’s work explores humans’ physical and psychological relationship to material and how it develops meaning. She considers her own body to be a prominent material in her sculptural and photographic work. In projects over the past few years, she has used clay as a thematic material. It is a material that has developed in the earth over the course of millions of years, used by humans for over 35,000 years, and still used today. Clay is familiar because it is deeply embedded in a humanist tradition, and in some ways synonymous with our own malleable and fragile human bodies. By physically shaping clay and documenting those processes, the artist explores how clay and her own bodily material develop meaning through use and origin, using performative elements to reinscribe meaning.

Rebecca Nakaba is a writer and multimedia artist. She employs the biological and cosmological to show that the boundaries between the physical body and intangible self, and the natural and supernatural worlds are thin and flexible. Specimen collections, mythologies, sublime landscapes, and scientific research are the source materials for her work. She plays with micro- and macroscopic scales to reframe the human experience into one that is less anthropocentric to ask: how do we create (re)union between each other and our environment? Nakaba has received fellowships from the Japan America Society of Chicago and the School of the Art Institute of Chicago, where she earned her MFA in Writing. Her work is currently on display at The Milwaukee Institute of Art and Design. 

About the exhibitions:

If the hours were already counted, a single-channel, site-specific video installation in Sector’s main gallery by Angelika Markul. This 2016 film was shot in Naica, Mexico—a crystal cave in the Chihuahua desert. The crystal cave is now closed and no longer accessible to humans. Projected in a site-specific installation, Markul translates and transposes the environment of the cave into Sector 2337’s gallery space to raise questions about scientific technology and aesthetic exploitation. Here, scientists try to move among giant crystals suspected to have formed more than 200,000 years ago. The figures struggle with high temperatures and the 99% humidity while looking for primitive life forms. In this ancient labyrinth, we don’t know if there is a way to get in or get out. Thanks to C/ PRODUCCIONES & PROYECTO NAICA. If the hours were already counted was curated by Caroline Picard.

Handles Expenditure, a site-specific installation in Sector’s Shoebox Gallery by Liz McCarthy. What is whole without a part? What is a part without a whole? In Handles Expenditure McCarthy explores pulled clay handle forms, cast through a traditional wet pulling process performed with her body. Her hand was the tool for making the form, and the traditional handle form was intended to be held by a hand. The protrusions in this installation are represented as forms autonomous from a vessel, rendering them useless, purposeless, access, expenditure. We expect the handle to be mounted, connected, useful in its position to the cup. There are many forms we expect to have use, tireless and familiar, like a body and a vessel, specified rather then ambiguous. A vessel, I expect to contain, and my body seeks to consume the contents. The handle mediates this connection, merging two vessels (body and cup) both forms intended to empty and fill. Handles Expenditure is curated by Sharmyn Cruz Rivera.