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Chicago Art Book Fair

Nov 16-18 at the Chicago Athletic Association

From Fri Nov 16-Sun Nov 18th at the Chicago Athletic Association, the Green Lantern Press will be selling books at this year’s Chicago Art Book Fair.

Opening Reception: Friday 11/16 5p–9p /// Fair Hours: Saturday 11/17 11a–7p + Sunday 11/18 12p–6p

The Chicago Art Book Fair began last year as an experiment in showcasing emerging directions and diverse legacies within small press arts publishing. The fair featured an international group of 125 arts publishers, small presses, book artists, comics artists, zinemakers and printmakers, with satellite programming and after parties. To our delight, our first effort made a splash with over 6,000 guests in attendance. In 2018, we look forward to bringing even more of Chicago’s people together with another fantastic roster of artist vendors. The Chicago Art Book Fair will once again convene at the historic Chicago Athletic Association, and shall remain free and open to the public. Organized by No Coast. More information about the fair, including a full list of exhibitors here.

Nicole Mitchell + Romi Crawford

Reading and Solo Performance

On November 17, The Green Lantern Press is proud to present an evening with Romi Crawford and creative flutist/conceptualist Nicole Mitchell. Celebrating their participation in the On Civil Disobedience pamphlet series, Mitchell will perform a solo work in relationship to her forthcoming pamphlet, Mandorla Awakening: A Conceptual-Quasi-Scientific Experiment to Redesign Our Future and Crawford will read from her pamphlet, Racism and Gestural Disobedience.

Romi Crawford is professor in the Visual and Critical Studies and Liberal Arts Departments at the School of the Art Institute of Chicago. Her research revolves primarily around formations of racial and gendered identity and the relation to American visual arts, film, and popular culture. She makes regular contributions to publications on African American art and culture including, Theaster Gates, Black Archive (Kunsthaus Bregenz, 2017); “Do For Self: The AACM and the Chicago Style” in Support Networks (University of Chicago Press, 2014); and “Ebony and Jet On Our Minds…In Our Homes. On the Wall” in Speaking of People: Ebony, Jet and Contemporary Art (Studio Museum in Harlem, 2014). She is coauthor (with Abdul Alkalimat and Rebecca Zorach) of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017). Crawford was cocurator (with Lisa Lee) of the 2017 Open Engagement Conference, themed “Justice.”

Nicole Mitchell is a creative flutist, composer, poet, conceptualist, bandleader, and educator. A Doris Duke Artist and recipient of the Herb Alpert Performing Arts Award, she is most widely known through her work as leader and founder of Black Earth Ensemble, and through repeated recognition as the top jazz flutist by DownBeat Critics Poll and the Jazz Journalists Association from 2010-2018. Mitchell’s primary inspiration was her mother, Joan Beard Mitchell (JBM), a self-taught Afrofuturist writer and visual artist who was an early member of the Black Folk Art Gallery of Syracuse (now the Community Folk Art Gallery). JBM died before having the opportunity to satisfactorily share her work, so upon her death, Nicole as a teen decided she would continue her mother’s path as an artist bridging the familiar with the unknown. JBM introduced Nicole to journaling and creative writing at an early age, which led to Nicole’s attraction to work as a typist and graphic designer for over ten years at Third World Press (TWP), the longest running African American book publishing company in the U.S.. At TWP, Nicole Mitchell absorbed lifelong lessons in Black history, philosophy and institution building, and gained incomparable mentorship from TWP’s founder and renown poet, Haki R. Madhubuti. Having started her musical career busking with her flute on the streets of San Diego and then Chicago, Mitchell eventually ascended from membership of Chicago’s venerable Association for the Advancement of Creative Musicians (AACM) and co-founder of the AACM’s first all woman ensemble, Samana, to become the first woman president of the organization. Mitchell’s artistic work celebrates contemporary African American culture, centered in the belief that music and art has the power to be transformative, while narrative has remained key to her compositional process. Her greatest music mentors have included James Newton, Maia, George Lewis, Roscoe Mitchell, Anthony Braxton and Ed Wilkerson. Mitchell was commissioned to create three projects inspired by science fiction writer Octavia Butler, including Xenogenesis Suite (Chamber Music America), Intergalactic Beings (Museum of Contemporary Art) and EarthSeed (co-commissioned with Lisa E. Harris by the Art Institute of Chicago). Her project Mandorla Awakening, noted in the top five jazz albums of 2017 by the Village Voice, the New York Times and the Los Angeles Times, was partly inspired by the book Chalice and the Blade by anthropologist Raine Eisler and from Mitchell’s own Afrofuturist narrative: Mandorla Awakening. Liberation Narratives (TWP 2017) is Nicole’s tribute to Haki Madhubuti, which connects music of Black Earth Ensemble with Madhubuti’s poetry. Meanwhile, Nicole’s poems and prose can be found embedded in the lyrics and spoken word of her dozen musical recordings. As a writer, Nicole Mitchell has had articles published in Jazz Times magazine, Wire Magazine (UK), Arcana VIII: Musicians on Music (edited by John Zorn), and Giving Birth to Sound: Women in Creative Music (edited by Ranate Da Rin and William Parker). Nicole Mitchell is a Professor of Music at University of California, Irvine. She also enjoys being a wife, mother and grandmother.

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On Civil Disobedience: An Epilogue

Nov 29-Dec 1

On Civil Disobedience: An Epilogue is a three-day series of readings, responses, workshops and performances to mark the conclusion of the Green Lantern Press’s 2017-2018 monthly pamphlet series On Civil Disobedience which invited writers from a range of professional backgrounds to address the series title. The works produced in this series recall historical precedents set by Thoreau, Gandhi, King, and others while also considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, the pamphlets ask how citizenship and resistance intersect within the pledge of democratic ideals. On Civil Disobedience: An Epilogue will celebrate the work produced in the series, extending it beyond the page through performances by original participants and artists with resonant practices. Participants include Basma Alsharif, J. Dakota Brown, Rashayla Marie Brown, Sky Hopinka, T Clutch Fleischmann, Damon Locks, Ayanah Moor, Allen Moore, Sonnenzimmer, and Jennif(f)er Tamayo. This program is curated by On Civil Disobedience coeditor, Fulla Abdul-Jabbar.

 

All events take place at Sector 2337 / doors open @ 6PM
2337 N Milwaukee Ave
Chicago IL 60647

 

 

Participant Bios

Fulla Abdul-Jabbar is an artist and writer living in Chicago. She presents thought in the form of language and presents language in various forms. She teaches at the School of the Art Institute of Chicago and is Managing Editor at The Green Lantern Press based at Sector 2337. She has performed or exhibited at SPACES, Defibrillator, Woman Made Gallery, ACRE, BBQLA, St. John University in York, the University of East London, the Electronic Literature Organization, and the Ann Arbor Film Festival. Her writing has appeared in Bad at Sports, DIAGRAM, and Bombay Gin.

Basma ALSHARIF is an Artist/Filmmaker born in Kuwait of Palestinian origin, raised between France, the US and the Gaza Strip. She has a BFA and an MFA from the University of Illinois at Chicago. She works between cinema and installation, centering on the human condition in relation to shifting geopolitical landscapes and natural environments. Major exhibitions include: the Whitney Biennial, les Module at the Palais de Tokyo, Here and Elsewhere at the New Museum, Al Riwaq Biennial Palestine, The Berlin Documentary Forum, the Sharjah Biennial 9 and Manifesta 8. Alsharif is now based in Cairo Egypt.

Artist-scholar Rashayla Marie Brown (RMB) manages a living studio practice through photography, performance, voice acting, writing, installation, and video. Her work has been commissioned by Bemis Contemporary, Omaha; Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; Museum of the African Diaspora, San Francisco; Rhodes College, Memphis; and she has presented work internationally at Tate Modern, London; INVISIBLE-EXPORTS, New York; Krabbesholm Højskole, Copenhagen; Turbine Hall, Johannesburg; and University of Pennsylvania. A lifelong nomad who has moved 24 times, she began her artistic practice as a poet in London, England. RMB holds degrees from Yale University, SAIC, and Northwestern University.

Dakota Brown moved to Chicago in 2000 to work in a graphic design firm, but he was quickly drawn into the city’s little universe of DIY venues, small presses, and even smaller magazines. He is currently working on a dissertation about graphic design and the history of capitalism at Northwestern University. Dakota teaches courses in the history, theory, and practice of design at the School of the Art Institute of Chicago. 

T Clutch Fleischmann is the author of Syzygy, Beauty and of Time Is the Thing a Body Moves Through, forthcoming from Coffee House Press in the spring of 2019.

 Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, Milwaukee, WI, and is currently based out of Cambridge, Massachusetts. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigneous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee. He is currently a fellow at the Radcliffe Institute for Advanced Study at Harvard University.

Damon Locks is a Chicago-based visual artist, educator, vocalist/musician, and deejay. He received his BFA in fine arts from The School of the Art Institute of Chicago. He is a part of Prisons and Neighborhood Arts Project working at Stateville Correctional Center teaching art. He is a recipient of the Helen Coburn Meier and Tim Meier Achievement Award in the Arts and a 2016 MAKER Grant recipient. He is also a Soros Justice Media Fellow. He works as an artist in residence as a part of the Museum of Contemporary Arts’ SPACE Program, introducing civically engaged art into the curriculum at the Sarah E. Goode STEM Academy.

As a kid, Ayanah Moor could be found hand drumming beats on elementary school desks and scratching 45’s on her beige Fischer Price turntable. Her claim to fame is the 7th grade band class in which she befriended Missy Elliot…they even performed together in the school talent show with Missy rhyming over Ayanah’s beat boxing! These days Ayanah Moor creates paintings, prints, drawings and performance where notions of blackness and gender identity take shape. Her recent Chicago exhibitions include the Museum of Contemporary Photography, DePaul Art Museum, Produce Model and Gather at Comfort Station.

Allen Moore is and Black American interdisciplinary artist, educator and curator born and raised in the small village of Robbins IL just south of Chicago. In large, his work is a social allegory, conversing with symbols and institutions conducive to the constructs of race, social class and personal introspection. Paring formal elements such as drawing, painting and design with a DIY-Maker mindset, Allen cultivates his interdisciplinary exploration and pedagogy. Allen has a Bachelors of Arts from Chicago State University, a Masters in Arts from Governors State University and a Masters of Fine Arts from Northern Illinois University. www.allenmooreart.net

Sonnenzimmer is the collective output of Nick Butcher and Nadine Nakanishi. Their work explores the contemporary and historic impact of the graphic impulse through publishing, exhibitions, graphic design, and performance. While the duo works in an array of media, their focus is on triangulating a deeper understanding of the role of graphic expression at large. In addition to their self-driven work, Sonnenzimmer actively engages in commissioned projects aiming to reshape preconceived notions of the graphic arts. www.sonnenzimmer.com 

Jennif(f)er Tamayo is a queer, migrant, formerly undocumented poet, essayist, and performer. JT is the daughter of Nancy, Flora, Leonor, Sol, and Ana. Her collections include [Red Missed Aches] (Switchback, 2011), Poems are the Only Real Bodies (Bloof Books 2013), DORA/ANA/GUATAVIT@ (RSH 2016) and YOU DA ONE (2017 Noemi Books & Letras Latinas’s Akrilica Series). She has held fellowships from the Hemispheric Institute for Performance & Politics and CantoMundo. Currently, JT lives and works on Ohlone and Patwin lands and is a PhD student in the department of Theatre, Dance and Performance Studies at UC Berkeley; her research considers resistant, decolonial practices of voic(ing). You can find their writing and art at www.jennifertamayo.com.

 

On Civil Disobedience: An Epilogue / "Dreaming, Waking"

Day One

THURS NOV 29, 6:30-9PM / Doors open @ 6PM

Day One of On Civil Disobedience: An Epilogue features a film and two performances by Sky Hopinka, Ayanah Moor, and Damon Locks. All events are free and take place at Sector 2337, 2337 N Milwaukee Ave., Chicago IL 60647

Sky Hopinka‘s film Fainting Spells (2018) is told through recollections of youth, learning, lore, and departure; this is an imagined myth for the Xąwįska, or the Indian Pipe Plant — used by the Ho-Chunk to revive those who have fainted. Ayanah Moor will perform with music, and Damon Locks presents Push Torso Right As If Pushing An Imaginary Wall, a musical performance with samples, drum machines, and synths, measuring time, space, and culture, through rhythms, voice, and song.

About the artists:

Sky Hopinka (Ho-Chunk/Pechanga) was born and raised in Ferndale, Washington and spent a number of years in Palm Springs and Riverside, California, Portland, Oregon, Milwaukee, WI, and is currently based out of Cambridge, Massachusetts. In Portland he studied and taught chinuk wawa, a language indigenous to the Lower Columbia River Basin. His video work centers around personal positions of Indigneous homeland and landscape, designs of language as containers of culture, and the play between the known and the unknowable. He received his BA from Portland State University in Liberal Arts and his MFA in Film, Video, Animation, and New Genres from the University of Wisconsin-Milwaukee. He is currently a fellow at the Radcliffe Institute for Advanced Study at Harvard University.

Damon Locks is a Chicago-based visual artist, educator, vocalist/musician, and deejay. He received his BFA in fine arts from The School of the Art Institute of Chicago. He is a part of Prisons and Neighborhood Arts Project working at Stateville Correctional Center teaching art. He is a recipient of the Helen Coburn Meier and Tim Meier Achievement Award in the Arts and a 2016 MAKER Grant recipient. He is also a Soros Justice Media Fellow. He works as an artist in residence as a part of the Museum of Contemporary Arts’ SPACE Program, introducing civically engaged art into the curriculum at the Sarah E. Goode STEM Academy.

As a kid, Ayanah Moor could be found hand drumming beats on elementary school desks and scratching 45’s on her beige Fischer Price turntable. Her claim to fame is the 7th grade band class in which she befriended Missy Elliot…they even performed together in the school talent show with Missy rhyming over Ayanah’s beat boxing! These days Ayanah Moor creates paintings, prints, drawings and performance where notions of blackness and gender identity take shape. Her recent Chicago exhibitions include the Museum of Contemporary Photography, DePaul Art Museum, Produce Model and Gather at Comfort Station.

On Civil Disobedience: An Epilogue is a three-day series of readings, responses, workshops and performances to mark the conclusion of the Green Lantern Press’s 2017-2018 monthly pamphlet series On Civil Disobedience which invited writers from a range of professional backgrounds to address the series title. The works produced in this series recall historical precedents set by Thoreau, Gandhi, King, and others while also considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, the pamphlets ask how citizenship and resistance intersect within the pledge of democratic ideals. On Civil Disobedience: An Epilogue will celebrate the work produced in the series, extending it beyond the page through performances by original participants and artists with resonant practices. Participants include Basma Alsharif, J. Dakota Brown, Rashayla Marie Brown, Sky Hopinka, T Clutch Fleischmann, Damon Locks, Ayanah Moor, Allen Moore, Sonnenzimmer, and Jennif(f)er Tamayo. This program is curated by On Civil Disobedience coeditor, Fulla Abdul-Jabbar.

On Civil Disobedience: An Epilogue / "The Limits of Form"

Day Two

FRI NOV 30, 6:30-9PM / Doors open @ 6PM

Day Two of On Civil Disobedience: An Epilogue features a film, a performance, and two readings by T Clutch Fleischmann, Jennif(f)er Tamayo, Basma ALSHARIF and Rashayla Marie Brown. All events are free and take place at Sector 2337, 2337 N Milwaukee Ave., Chicago IL 60647

T Clutch Fleischmann, will read How do you solve a systemic problem like Gonorrhea?, a story of systemic gonorrhea after the passage of the Stop Enabling Sex Traffickers Act; at the intersection between poetry and performance, Jennif(f)er Tamayo will present her work, to kill the future in the present, published as part of the On Civil Disobedience pamphlet series (Green Lantern Press, 2018). After an intermission, we will screen Basma ALSHARIF‘s 2011 film, The Story of Milk and Honey in which an anonymous narrator tells of his failure at attempting to write a love story in Beirut, Lebanon. Through a delicate weaving of fact and fiction, a tale of defeat transforms into a multi-layered journey exploring how we collect information, perceive facts and recreate history to serve our own desires. The evening ends with a performance by Rashayla Marie Brown, Majnoona (Crazy Woman). Majnoona (Crazy Woman) is a part-audiobook, part-spectacle. The artist uses her training as an emerging voiceover actor to perform a memoir of images and texts from the forthcoming Esprit D’Escalier or InshAllah, based on her travels and long-distance relationship with an Omani citizen that violently ended due to increasingly conservative marriage and citizenship laws. The combination of sound installation and live performance will involve audience participation.

About the artists:

Basma ALSHARIF is an Artist/Filmmaker born in Kuwait of Palestinian origin, raised between France, the US and the Gaza Strip. She has a BFA and an MFA from the University of Illinois at Chicago. She works between cinema and installation, centering on the human condition in relation to shifting geopolitical landscapes and natural environments. Major exhibitions include: the Whitney Biennial, les Module at the Palais de Tokyo, Here and Elsewhere at the New Museum, Al Riwaq Biennial Palestine, The Berlin Documentary Forum, the Sharjah Biennial 9 and Manifesta 8. Alsharif is now based in Cairo Egypt.

Artist-scholar Rashayla Marie Brown (RMB) manages a living studio practice through photography, performance, voice acting, writing, installation, and video. Her work has been commissioned by Bemis Contemporary, Omaha; Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; Museum of the African Diaspora, San Francisco; Rhodes College, Memphis; and she has presented work internationally at Tate Modern, London; INVISIBLE-EXPORTS, New York; Krabbesholm Højskole, Copenhagen; Turbine Hall, Johannesburg; and University of Pennsylvania. A lifelong nomad who has moved 24 times, she began her artistic practice as a poet in London, England. RMB holds degrees from Yale University, SAIC, and Northwestern University.

T Clutch Fleischmann is the author of Syzygy, Beauty and of Time Is the Thing a Body Moves Through, forthcoming from Coffee House Press in the spring of 2019.

Jennif(f)er Tamayo is a queer, migrant, formerly undocumented poet, essayist, and performer. JT is the daughter of Nancy, Flora, Leonor, Sol, and Ana. Her collections include [Red Missed Aches] (Switchback, 2011), Poems are the Only Real Bodies (Bloof Books 2013), DORA/ANA/GUATAVIT@ (RSH 2016) and YOU DA ONE (2017 Noemi Books & Letras Latinas’s Akrilica Series). She has held fellowships from the Hemispheric Institute for Performance & Politics and CantoMundo. Currently, JT lives and works on Ohlone and Patwin lands and is a PhD student in the department of Theatre, Dance and Performance Studies at UC Berkeley; her research considers resistant, decolonial practices of voic(ing). You can find their writing and art at www.jennifertamayo.com.

On Civil Disobedience: An Epilogue is a three-day series of readings, responses, workshops and performances to mark the conclusion of the Green Lantern Press’s 2017-2018 monthly pamphlet series On Civil Disobedience which invited writers from a range of professional backgrounds to address the series title. The works produced in this series recall historical precedents set by Thoreau, Gandhi, King, and others while also considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, the pamphlets ask how citizenship and resistance intersect within the pledge of democratic ideals. On Civil Disobedience: An Epilogue will celebrate the work produced in the series, extending it beyond the page through performances by original participants and artists with resonant practices. Participants include Basma Alsharif, J. Dakota Brown, Rashayla Marie Brown, Sky Hopinka, T Clutch Fleischmann, Damon Locks, Ayanah Moor, Allen Moore, Sonnenzimmer, and Jennif(f)er Tamayo. This program is curated by On Civil Disobedience coeditor, Fulla Abdul-Jabbar.

On Civil Disobedience: An Epilogue / "Impressions of Resistance"

Day Three

SAT DEC 01, 6:30-9PM / Doors open @ 6PM

Day Three of On Civil Disobedience: An Epilogue features a reading, a musical performance, and a performative lecture by On Civil Disobedience pamphlet designer J. Dakota Brown, Allen Moore, and Sonnenzimmer. All events are free and take place at Sector 2337, 2337 N Milwaukee Ave., Chicago IL 60647

J. Dakota Brown will read Design and Labor: a brief history, a prelude to his forthcoming pamphlet When Designers Disobeyed. His text will walk through a century of transformations in graphic design’s division of labor. Seen in the right light, he argues, the history of the profession is deeply entwined with the great absurdities of capitalism: in particular, the uneasy coexistence of idleness, overwork, and runaway production. Allen Moore, will present his work in progress, Feels Like (Madness), spinning records of various materials (graphite, red clay etc), layering a haunting mix of News, music and relevant social sound pieces. The presentation of the three-day event series is Sonnenzimmer’s “Graphic Filament.”  For this performance lecture, Sonnenzimmer asks: “What links the graphics of the natural world to our own graphic expression? Graphics have existed in the wild long before humans got the hang of them. Plants and animals use their graphic exteriors to aid in a number of activities (mating, camouflage, hunting, etc). Through biomimicry, humans have harnessed our own graphic impulse. That impulse has now materialized well beyond our immediate exteriors, forming a graphic social skin that is inseparable from our humanity. With an impending virtual and augmented reality, this social skin is becoming increasingly inhabitable and interactive. As we start to fuse ourselves with this graphic skin, what do we stand to learn from exploring the graphic knowledge of the natural world? Cross pollinating ideas introduced in the publications Graphic Arts Future (2013), Café Avatar (2017), and Shape Song (2018), Sonnenzimmer will use a hybrid performative lecture format, to explore these questions through text, image, and sound.”

About the artists:

Dakota Brown moved to Chicago in 2000 to work in a graphic design firm, but he was quickly drawn into the city’s little universe of DIY venues, small presses, and even smaller magazines. He is currently working on a dissertation about graphic design and the history of capitalism at Northwestern University. Dakota teaches courses in the history, theory, and practice of design at the School of the Art Institute of Chicago.

Allen Moore is and Black American interdisciplinary artist, educator and curator born and raised in the small village of Robbins IL just south of Chicago. In large, his work is a social allegory, conversing with symbols and institutions conducive to the constructs of race, social class and personal introspection. Paring formal elements such as drawing, painting and design with a DIY-Maker mindset, Allen cultivates his interdisciplinary exploration and pedagogy. Allen has a Bachelors of Arts from Chicago State University, a Masters in Arts from Governors State University and a Masters of Fine Arts from Northern Illinois University. www.allenmooreart.net

Sonnenzimmer is the collective output of Nick Butcher and Nadine Nakanishi. Their work explores the contemporary and historic impact of the graphic impulse through publishing, exhibitions, graphic design, and performance. While the duo works in an array of media, their focus is on triangulating a deeper understanding of the role of graphic expression at large. In addition to their self-driven work, Sonnenzimmer actively engages in commissioned projects aiming to reshape preconceived notions of the graphic arts. www.sonnenzimmer.com

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The Fourth Annual Festival of Poets Theater

Transversals

Curated by Josh Hoglund
December 7th – December 8th, 2018

The Green Lantern Press and Kenning Editions are pleased to present the Fourth Annual Festival of Poets Theater: Transversals, curated by Josh Hoglund at Sector 2337. Featuring video, live theater, performance art, and installation, this event explores the form of poets theater and its capacity to intersect and play with different genres. Taking place over the course of two evenings, participants include Blair Bogin, Robin Deacon, Joanna Furnans, David Hall and Julia Pello, Lin Hixson, Lanny Jordan Jackson, Stephan Moore and Hope Rehak, Stephan Moore, and Ginger Krebs.

Click here for a curatorial statement by Josh Hoglund.

Click here for full performance schedule.

About Poets Theater: Poets Theater is a genre of porous borders, one that emerges about the same time, and involving many of the same artists, as performance art, performance poetry (“spoken word”), conceptual and “intermedia” art. But poets have long been playwrights, either primarily (Sophocles, Shakespeare) or as a platform for postmodern literary experimentation (the operas and page plays of Gertrude Stein, for example).

Blair Bogin is an interdisciplinary artist combining documentary storytelling with surrealist humor, measuring the facts about human experience against its lesser quantifiable absurdities. Blair tends to merge her art practice with her work as a counseling astrologer; creating installation, video or live theatre inspired by planetary alignments. Additionally, she devises Dead Diary, a series that reports monthly star vibes through abstracted video art. Blair received her MFA from The School of the Art Institute of Chicago and is a certified Kundalini Yoga Instructor, Hypnotherapist and Holotropic Breathwork Facilitator. blairbogin.com / sisterbrideastrology.com

Robin Deacon (born 1973 Eastbourne, England) is a British artist, writer and filmmaker currently based in the USA. His interdisciplinary practice has spanned a variety of disciplines and themes, including explorations of performer presence and absence, the role of the artist as biographer, the possibility for journalistic approaches to arts practice, and the mapping and ethics of performance re-enactment. He graduated from Cardiff School of Art in 1996, going on to present his performances and videos at conferences and festivals in the UK and internationally in Europe, USA and Asia. His work has been commissioned and programmed by venues such as The ICA, London (1996), The Young Vic, London (2000), CCCB, Barcelona (2006), Tanzquartier Wien, Vienna (2007) and the Centre d’art Scenique Contemporain Lausanne, Switzerland (2009), Tate Britain, London (2014) and the Barbican Centre, London (2015). He has also been artist in residence at Sophiensaele in Berlin (2005), Camden Arts Centre London (2006), Robert Wilson’s Watermill Center, New York (2009) and the MacDowell Colony (2018). He has received a variety of awards and fellowships from organizations such as the Delfina Foundation, British Arts Council, Live Art Development Agency and Franklin Furnace Inc. Between 2003 and 2012, he was an Associate Artist of contemporary artists producing organization Artsadmin. From 2004, he was Course Director of the Drama and Performance Studies program at London South Bank University before relocating to the USA in 2011. He is currently Chair and Associate Professor of Performance at the School of the Art Institute of Chicago.

Joanna Furnans is a Chicago-based independent dance artist. Her current project, Doing Fine, is supported by a 2018 Chicago Dancemaker’s Forum lab artist award and a 2019 Schonberg Fellowship at the Yard. Previous works were supported by the Chicago Moving Company, the Department of Cultural Affairs and Special Events (DCASE), Links Hall’s Co-MISSION Residency, and the Walker Art Center’s Choreographer’s Evening. As a dancer in the works of independent artists Karen Sherman, Morgan Thorson, and Chris Schlichting, she has performed at the American Realness Festival (NYC), the Fusebox Festival (Austin), the TBA Festival (Portland), the Walker Art Center (Minneapolis), the Institute of Contemporary Art (Boston), the Chocolate Factory (NYC), PS122 (NYC), and the Center for Art and Performance (UCLA), among others. Furnans has also performed in the work of Minneapolis-based choreographers Laurie Van Wieren and the BodyCartography Project as well Chicago-based dance maker, Ginger Krebs. Furnans is a sometimes-writer for the Chicago dance community. She co-founded the Performance Response Journal and has been a contributing dance writer for the Windy City Times, Art Intercepts, and See Chicago Dance.

David Hall writes in sentences and often works with materials already charged with significance.

Julia Pello is a Russia-born writer and media artist whose work engages sites where the articulation of time encounters complications, erosions and ambiguities to investigate possibilities of engaging with what is no longer materially present.

Lin Hixson directs Every house has a door, a group she co-founded in 2008. Previously she directed the performance group Goat Island from its founding in 1987 until it ended in 2009. She is Full Professor of Performance at The School of the Art Institute of Chicago. Hixson has received fellowships from The National Endowment for the Arts, The Illinois Arts Council, and the Chicago Dancemakers’ Forum and been given residencies at MANCC, the Robert Rauschenberg Foundation, and Bellagio. She was awarded an honorary doctorate from Dartington College of Arts, (UK) in 2007, given the United States Artists Ziporyn Fellowship in 2009 and a Foundation for Contemporary Arts fellowship in 2014. Her writing has been published in the journals Poetry, The Drama Review, and Performance Research. Her collaborative essays with Matthew Goulish appear in the 21st Century Performance Reader, Artists in the Archive, and The Creative Critic.

Lanny Jordan Jackson is a filmmaker and poet living in New York City. Select video work includes “The Companion” (2012), “Laughing Like The Head As It Imagined Itself Laughing” (2012), “Triple Shark Cerberus” (2013), “Vivian” (2013), “Scorpio vs. Glass Door Restaurant” (2014), “NERVES TEARS” (2016), and “The Accommodation For A Solitary B” (2017-ongoing).

Stephan Moore is a sound artist, sound designer, composer, improviser, maker, teacher, and curator based in Chicago. His creative work manifests as electronic studio compositions, improvisational outbursts, sound installations, scores for collaborative performances, algorithmic compositions, interactive art, and sound designs for unusual circumstances. His collaborations with sound artist Scott Smallwood (as electronic duo Evidence) and choreographer Yanira Castro (in her company A Canary Torsi) span more than a decade. He is the curator of sound art for the Caramoor Center for Music and the Arts, organizing annual exhibitions since 2014. He is also the president of Isobel Audio LLC, which builds and sells his Hemisphere loudspeakers. He was the touring music coordinator and sound engineer of the Merce Cunningham Dance Company for several years, and has worked with Pauline Oliveros, Anthony McCall, and Animal Collective, among many others. He teaches in the Sound Arts and Industries program at Northwestern University. www.oddnoise.com

Hope Rehak was born in Chicago and shaped by its public schools. After graduating from Whitney Young Magnet High School, she attended Oberlin College on a scholarship from The Posse Foundation. She holds an MFA in Writing for the Screen & Stage from Northwestern University. In addition to Chicago, Hope has lived in Copenhagen, New York, DC, and Los Angeles. Hope has received the Copenhagen Wisecrackers Comedy Newcomer of the Year Award, the Northwestern University Sitcom Award, and scholarships from the WICE Paris Writers Workshop and the Kenyon Playwrights Conference. Her play Ruins was produced for a limited Off-Broadway run through an award from The Araca Project in 2017. Find out more about her here.

Ginger Krebs is based in Chicago, where she makes performance and sculpture. She was a CDF Lab Artist in 2014, and was awarded a MAP Fund grant (administered by Creative Capital) in 2015. The performance supported by those awards, Buffer Overrun, earned a four-star review and was chosen for the“Best Dance of 2016” by the Chicago Tribune. In 2017 Krebs presented Minor Local Slumpage, a solo exhibition of sculpture, along with an artist’s book and sculpture “tasting,” at the Chicago Artists Coalition. Krebs is an Adjunct Associate Professor in Performance and Contemporary Practices at The School of the Art Institute of Chicago, where she’s taught since 2004 and created thirteen original courses. This year Krebs was awarded a residency at the Maggie Allesee National Center for Choreography (MANCC) at Florida State University, and presented performances at The Pivot Arts Festival (Chicago) and the Seattle International Butoh Festival, among others. She’s currently a Sponsored Artist at High Concept Labs (Chicago).

On Recombination

A sound performance by Eduardo F. Rosario

Thursday, December 13 from 6-9pm / doors open at 5:30pm

On Recombination is a project that focuses on the circulation, abrasion, and clustering of digital sound objects. These objects are approached through the perspective of compression standards, remix culture, and postproduction techniques as modes in which their form is subjected to constant serial variation and further mobilization. Rhythm is employed as a plane of consistency that allows the weaving of web apparitions, cultural anachronisms, and other digital traces into new aural assemblages. This project is made of three parts, each performed at 6:15pm, 7:00pm, and 7:45pm on December 13.

i. on the recombination of codec temporalities
ii. spectrality as aerosol
iii. pneumatophonic lag

Eduardo F. Rosario is a sound artist and performing experimental musician from Caguas, Puerto Rico currently based in Chicago, Illinois.