Serpent-Head Spaceships_forweb

Please Don't Bury Me Alive! Part Two

Anthony Romero & Josh Rios

Opening Reception Sat May 09 from 6-9pm

On view in the Project Space from May 09-Jun 13 2015

Josh Rios and Anthony Romero will present Part Two of Please Don’t Bury Me Alive!—a project space installation that features various arrangements of the artifacts from their inaugural performance along side other works that deal with Chicano centered imagery and histories. In addition, a suite of drawings by Chicano sci-fi writer Ernest Hogan will be on display. The collection of works on paper represents the smallest of fragments culled from Hogan’s vast archive of sketchbooks, notes, and drafts, which Rios and Romero are working to curate for an exhibition in the Summer of 2016.

While in residence at Sector 2337, Josh Rios and Anthony Romero will present a two-part project titled Please Don’t Bury Me Alive! Part One features a performative lecture that draws on gestures associated with pedagogy and dramaturgy in an effort to Other Modernism. Robert Smithson’s lecture Hotel Palenque, for example, is reperformed in reference to San Diego’s Chicano Park; while Samuel Beckett’s play Waiting for Godot is both set in the future and takes place in an unnamed detention center, presumably along the US-Mexico border. Part Two, on view for one month, occurs in the project space.

Anthony Romero and Josh Rios, both originally from south Texas, now live and work in Chicago. Over the past several years they have been developing various performances, two and three dimensional works, curatorial projects, installations, writings, and screenings that deal with the experience of being US citizens of Mexican origin in these challenging times. Broadly speaking, their collaborative works center on contemporary Chicana/o aesthetics, the elided histories of the Chicana/o struggle, and the dismissal of Chicana/o contributions to US culture in general.

Image: Ernest Hogan, “Serpent-Headed Spaceships” (detail) , [n.d]. Charcoal, 8.5 x 11in. Courtesy of the Artist.

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Not To Be Taken

Dao Nguyen performs at 3pm on Saturday, May 30th

As part of Ellen Rothenberg’s current exhibition, elsetimeThe Green Lantern Press presents Not to be Taken a series of Saturday actions. This Saturday, May 23rd, Dao Nguyen will present her 30 minute action at 3pm.

Not to be Taken Performance Series invites select artists and thinkers to publicly use elsetime as a generative studio space in which she can engage questions about legacy and politics, place and time, through discrete actions; these subjective, ephemeral responses momentarily transform the exhibition with the performer’s unique potential.

Saturday May 16th at 3pm : Tim Kinsella

Saturday May 23rd at 3 pm : Alexandria Eregbu

Saturday May 30th at 3 pmDao Nguyen

Saturday June 06 at 3 pm : Becky Grajeda

Saturday June 13 at 3pm : Mark Booth

Saturday June 20th at 3pm : Terri Kapsalis & Anne Elizabeth Moore

This week’s Not to be Taken Participant:

Dao Nguyen is a Chicago-based artist. She choreographs thought experiments, play apparatuses, obstacle courses, and rituals for transformation. A score becomes a map is a situation where objects, actions, and bodies encounter philosophical questions concerning communication, connection, and ontology. Her name is a homophone for the Vietnamese word for knife. She is the compact, red Leatherman multi-tool your aunt gave you for Christmas ten years ago. On sale at Marshall’s. Versatility and hidden strength in a small package at a discount. Stealthy enough to pass through security checkpoints on three continents on four separate occasions. She can cut, screw, file, saw, and open your beer. Bonus applications include carving miniature graphite figurines, picking locks, and sculpting tofu. Nguyen has exhibited and performed in backyards, bathrooms, stairwells, highways, and gallery spaces, including Defibrillator, Hyde Park Art Center, Sullivan Galleries, Los Angeles Municipal Gallery, Brea Art Gallery, The Foundry Arts Centre, and Irvine Fine Arts Center. She received an MFA from the School of the Art Institute of Chicago, and was recently an Artist-in-Residence at ACRE and Elsewhere: A Living Museum.

Other Not to be Taken Participants:

Alexandria Eregbu is a visual artist, whose work often takes shape in the form of performance, programming, and curatorial practices. Her concerns frequently address community, materiality, performativity, and visibility of racialized and gendered bodies in space. In 2012, Eregbu was commissioned by Out of Site Chicago to perform 11/10/10, a project that confronted the physical and geographical boundaries of the city of Chicago. The following year in 2013, Eregbu curated Marvelous Freedom/Vigilance of Desire, Revisited at Columbia College Chicago. This curatorial project reexamined the first Marvelous Freedom/Vigilance of Desire— a Surrealist exhibition that took place in Chicago in 1976. Eregbu’s work has been featured in two solo exhibitions and several group exhibitions including Seminar (New York); Exodus at the University of Chicago’s Arts Incubator in Washington Park; and Mythologies at Sullivan Galleries (Chicago). Eregbu was a recipient of the Propeller Fund Grant (2013), a 2014-2015 Resident Curator with HATCH Projects at Chicago Artists Coalition, and a Public Studio Artist in Residence at the Chicago Cultural Center. Eregbu received her BFA from the School of the Arts Institute of Chicago.

Becky Grajeda is a sound artist, sound designer and sound engineer based in Chicago. Her works of sound assemblage, multi-channel installation and performance frequently include field recordings of the sounds of machinations and/or in involve abstracting vocal inflection, intonation, and intended meaning in speech. She has exhibited and performed her sound work in Chicago, the UK, Finland, and in the Czech Republic. She recently received a grant from the City of Chicago’s Department of Cultural Affairs and Special Events to document three of her performative sound works.

Terri Kapsalis is a writer, performer, and cultural critic whose work appears in such publications as Short Fiction, Denver Quarterly, Parakeet, The Baffler, New Formations and Public. She is the author of Jane Addams’ Travel Medicine Kit (Hull-House Museum), The Hysterical Alphabet (WhiteWalls) and Public Privates: Performing Gynecology from Both Ends of the Speculum (Duke University Press) and the co-editor of two books related to the musician Sun Ra. As an improvising violinist, Kapsalis has a discography that includes work with Tony Conrad, David Grubbs, and Mats Gustafsson, and she is a founding member of Theater Oobleck. She works as a health educator at Chicago Women’s Health Center and teaches at the School of the Art Institute of Chicago.

Tim Kinsella is the author of two novels, Let Go and Go On and On (2014, Curbside Splendor) and The Karaoke Singer’s Guide to Self-Defense (2011, Featherproof Books). He has also recently become the publisher and editor at Featherproof Books. Since 1996 his band Joan of Arc and its related projects have released dozens of albums and they continue to tour internationally on a regular basis. Recent projects include multiple commissions for the MCA Chicago and The Museum of Contemporary Photography.

Anne Elizabeth Moore is an internationally renowned cultural critic. Fulbright scholar, UN Press Fellow, USC Annenberg/Getty Arts Journalism Fellow and part of the team behind The Ladydrawers, she has written and edited several award-winning books. Cambodian Grrrl (Cantankerous Titles, 2011) received a Lowell Thomas Travel Journalism Award for best book from the Society of American Travel Writers Foundation in 2012. Hey Kidz, Buy This Book(Soft Skull, 2004) made Yes! Magazine‘s list of “Media That Set Us Free” and Reclaim the Media’s 2004 Media and Democracy Summer Reading List. The first Best American Comics made both Entertainment Weekly‘s “Must List” and Publishers Weekly‘s Bestsellers List. Unmarketable (The New Press, 2007) made Reclaim the Media’s 2007 Media and Democracy Summer Reading list and was named a Best Book of the Year by Mother Jones. Her recent book New Girl Law (Cantankerous Titles, 2013), the follow-up to Cambodian Grrrl, was called “a post-empirical proto-fourth-wave feminist memoir” by BustMoore herself was recently called a “general phenom” by the Chicago Reader and “one of the sharpest thinkers and cultural critics bouncing around the globe today” by Razorcake. More here.

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Hannah B. Higgins, Shawn Michelle Smith, & Ellen Rothenberg in Conversation

on the subject of elsetime

Join us for a conversation about Ellen Rothenberg’s exhibition, elsetime, featuring Rothenberg, Shawn Michelle Smith, and Hannah B. Higgins on May 30th from 5:00-6:30pm. The conversation will be an informal gallery talk and is free and open to the public.

Hannah B. Higgins has been teaching at UIC since 1994. Her research and course topics examine twentieth century avant-garde art with a specific interest in Dadaism, Surrealism, Fluxus, Happenings, performance art, food art and early computer art. Her books and articles argue for the humanistic value of multimodal aesthetic experiences. Higgins is solo author of Fluxus Experience (University of California Press, 2002) and The Grid Book (MIT Press, 2009) and co-editor of with Douglas Kahn of Mainframe Experimentalism: Early Computing and the Foundations of Digital Art (University of California Press, 2012). She has received the UIC University Scholar Award, DAAD, Getty and Philips Collection Fellowships and is co-executor of the Estate of Dick Higgins and the Something Else Press.

Shawn Michelle Smith is Professor of Visual and Critical Studies at the School of the Art Institute of Chicago.  She has published several books on the history and theory of photography and gender and race in visual culture. Her most recent book, At the Edge of Sight:  Photography and the Unseen (Duke 2013), won the 2014 Lawrence W. Levine Award for best book in American cultural history from the Organization of American Historians, and the 2014 Jean Goldman Book Prize from the School of the Art Institute of Chicago. She is currently working on Photographic Returns, a book about contemporary photography invested in the past, and completing a co-edited book with Sharon Sliwinski called Photography and the Optical Unconscious.

Ellen Rothenberg’s work is concerned with the politics of everyday life and the formation of communities through collaborative practices. Her installations and public projects often employ the iconography of social movements and their residual documents to interrogate the mechanisms underlying contemporary political engagement and social dialogue. Her work—architecturally scaled installations, public projects, performance, collaborations, and writing —uncovers histories embedded in the present, particularly those of women, labor, and feminism. Her approach to form and material is informed by these concerns, and inflect meaning beyond their historical conventions. Her work has been presented in North America and Europe at The Museum of Contemporary Art, Chicago; The Museum of Fine Arts and The Institute of Contemporary Art, Boston; The Museum of London, Ontario; The Contemporary Jewish Museum, San Francisco; The Neues Museum Weserburg, Bremen; Royal Festival Hall, London; The Brukenthal National Museum, Sibiu, Romania; among others. Awards include NEA Regional Fellowships, The Bunting Institute Fellowship Radcliffe College Harvard University, Illinois Arts Council Fellowships, The Massachusetts Artist Foundation Fellowships, and grants from CEC Artslink, The Charles Engelhard Foundation, The LEF Foundation, and NEA Artists Projects. Rothenberg teaches at The School of the Art Institute of Chicago and at the Vermont College Fine Arts Graduate Program.

RottenCarcass

Book Releases for Daniel Borzutzky, Johannes Goransson, Sade Murphy, & Nikki Wallschlaeger

On Friday June 5th at 7pm, we will celebrate new books from Daniel Borzutzky, Johannes Göransson, Sade Murphy, and Nikki Wallschlaeger will give readings. Doors open at 6:30 pm. This event is free.

Daniel Borzutzky is the author of In the Murmurs of the Rotten Carcass Economy (2015), The Book of Interfering Bodies (2011), The Ecstasy of Capitulation (2007) and Arbitrary Tale (2005) His work has been anthologized in, among others, A Best of Fence: The First Nine Years, Seriously Funny, and Malditos Latinos Malditos Sudacas: Poesia Iberoamericana Made in USA. He has also translated books of poetry from Spanish.  He lives in Chicago.
Johannes Göransson is the author of six books, including most recently The Sugar Book (just out from Tarpauin Sky Press), as well as the translator of such Swedish and Finland-Swedish poets as Aase Berg, Johan Jönson and Henry Parland. He teaches at the University of Notre Dame and edits Action Books.
Sade Murphy was raised in Houston but she lives in South Bend. Her poems have recently been published in Lit and Action, Yes. Her first book, Dream Machine, was published by Co*im*press this past winter.
Nikki Wallschlaeger is the author of two chapbooks, Head Theatre (2007) and “I Would Be The Happiest Bird” (2014). Her work has been pubished in Nervehouse, Coconut Poetry, Word Riot, Spork, DecomP and other journals. Her book “Houses” was just published by Horse Less Press. She is currently working on her first full-length manuscript of poems called Crawlspace. She lives in Milwaukee with her spouse and son.