Subscribe to On Civil Disobedience! On Civil Disobedience is a monthly pamphlet series co-edited by Fulla Abdul-Jabbar, Devin King, and Caroline Picard, where The GLP commissions writers from a range of professional backgrounds to contribute essays addressing the title topic. The series will recall historical precedents set by Thoreau, Gandhi, King, Arendt and others while considering the pamphlet’s important role in American revolutionary history. Filtering civic responsibility through the combined awareness of histories and disciplines, we hope these essays will ask how citizenship and resistance intersect within the pledge of democratic ideals. Designed by Dakota Brown, confirmed contributors thus far include Ravi Agarwal (Environmental Activism), Robin Blaser (Poetry), Romi Crawford (Race and Affect Theory), Ilona Gaynor (Design), Stephen Lapthisophon (Art and Theory), Nathaniel Mackey (Poetry), Moshe Marvit (Labor Law), Abhishek Narula (Data Engineering), Nina Power (Feminist Theory), and Jennifer Tamayo (Poetry). Subscribe to this series here and receive a copy of each issue in the mail. Shadowed! (Dec 2017) confronts the slippage of time and action within Ellen Rothenberg’s 2016 exhibition elsetime. Sweeping through the studio of Bertolt Brecht, Woodstock in the sixties, Berlin in the nineties, and the Syrian protests of today, Shadowed! projects a dispersive, unfolding temporality. Designed by Sonia Yoon, this book includes essays by Hannah B Higgins, Jeffrey Skoller, Shawn Michelle Smith, Caroline Picard, with additional contributions by Mark Booth + Becky Grajeda, Alexandria Eregbu, Simone Forti, Terri Kapsalis + Anne Elizabeth Moore, Tim Kinsella, and Dao Ngyuen.
Elevated Threat Level (2017/2018) Rachel Galvin‘s new collection of poetry explores an ethical response to American comfort and its ties to war and exploitation. Rachel Galvin is a finalist for the National Poetry Series and Alice James Books’ Kinereth Gensler Award, and the author of Pulleys & Locomotion (2009). Her translations include Raymond Queneau’s Hitting the Streets (2013), winner of the the 2014 Scott Moncrieff Prize, and a forthcoming translation, with Harris Feinsod, of the work of Argentinian poet Oliverio Girondo. Her poems and translations appear in Boston Review, Colorado Review, Gulf Coast, MAKE, McSweeney’s, The New Yorker, and Poetry. She is an assistant professor at the University of Chicago.
Institutional Garbage (Spring 2018) presents the administrative residue of imaginary public institutions produced by artists, writers, and curators, in an effort to trace the private life of institutional endeavors. Edited by Lara Schoorl with support from Fulla Abdul-Jabbar and design by Pouya Ahmadi. Artists include Alberto Aguilar, Brit Barton, Mara Baker, Kevin Blake, Zippora Elders, Rami George, David Hall, Kuras + MacKenzie, Josh Rios + Anthony Romero, Michal Samana, Naqeeb Stevens, Tina Tahir, Anna Martine Whitehead; featuring writers Lise Haller Baggesen, Daniel Borzutzky, Isaiah Dufort, Patrick Durgin, Tricia Van Eck, Jane Lewty, Jill Magi, Nam Chi Nguyễn, Rowland Saifi, Suzanne Scanlon, Mia You + Maarten van der Graaf with Fiep van Bodegom + Obe Alkema; and curators David Ayala-Alfonso, Britton Bertran, Rashayla Marie Brown, Every house has a door, Lucia Fabio, João Florêncio, Stevie Greco, Jeanine Hofland, Renan Laru-an, La Keisha Leek, Sofia Lemos, and Vincent van Velsen.
Current Exhibition: Coming of Age features seven artists whose meditative practices torque scale, technology, and location in search of sustainable agency and repair. (More information on this show below).
Winter Exhibition: 1:1 Lou Mallozzi (Chicago) 1:1 is a site-specific installation based on two 2005 archeological excavations from the Krems-Wachtberg site in Vienna. The first included the burial of two infants in a single prepared grave dating to 25,000 BCE. The second is a piece of ivory from the same period with eleven painted stripes in red ochre. It is one of the oldest painted objects ever recovered. Molozzi’s installation explores archaeological methodologies and the physical forms they take; museum display strategies; the horizontal orientation required as archaeologists sift across thin topological layers that then becomes vertical as they dig down; and the presence and usage of red ochre; forensic cataloging; etc. A second part of the show occupies the entire southeast wall of the gallery consisting of a pencil-line grid divided into eleven sets of 20 squares each and contains the fingerprints of eleven sets of twins in the Chicagoland area.
Lou Mallozzi (b. 1957) is an interdisciplinary artist whose work often focuses on sound, language, and acousmatics. During his more than three decades of interdisciplinary arts practice, he has performed, exhibited, and broadcast in a number of venues in the US and Europe, including the Museum of Contemporary Art Chicago, The Arts Club Chicago, The Renaissance Society, Randolph Street Gallery Chicago, Podewil Berlin, TUBE Audio Art Series Munich, Bayersicher Rundfunk Munich, New American Radio, Experimental Intermedia New York, Ausland Berlin, Radiorevolten Festival Halle, Constellation Chicago, and many others.
Spring Exhibition: If the hours were already counted a video installation by Angelika Markul (Paris). If the hours were already counted was shot in Naica, a crystal cave in the Chihuahua desert. The crystal cave is now closed and no longer accessible to humans. Those who visited the Crystal Cave describe their experience as an encounter with something unearthly. The extraordinary beauty and deadly conditions determine this extraordinary experience and, more specifically, allow for a way to reach the limits of survival in terms both biological and aesthetic.The resulting video shows scientists trying to move and walk in the crystal cave, struggling with the warm temperature and the 99% humidity. In this labyrinth, we don’t know if there is way to get in or get out. What interests Angelika Markul, more that just the beauty, is the fascination it evokes as well as the scientific technology and aesthetic exploitation, which were applied in the extraction.Angelika Markul (b. 1977 in Poland) lives and works in France and Poland. Recent prizes include the Sam Art project, and COAL Prize. Among her recent shows: Sans réserve, Mac-Val, Vitry-sur-Seine, France, 2017; What is lost is at the beginning, CSW Zamek Ujazdowski, Warsaw, Poland, 2016; Take me I’m yours, The Jewish Museum, New York, United States, 2016; The State of Life, National Art Museum of China, Beijing, China, 2015; Immigrantes, Muntref – Centro de Arte Contemporáneo. Sede: Hotel de Inmigrantes, Buenos Aires, Argentina, 2015; Terre de départ, Palais de Tokyo, Paris, France, 2014; Inhabiting the world, Busan Biennale, South Korea, 2014.