Sector 2337 : 2016 Spring in Review

What follows is a concentrated and incomplete collection of photographs documenting activities at Sector 2337 from Jan-May 2016. All of the events below were free to the public and produced by The Green Lantern Press. Unless otherwise noted, they were taken by Caroline Picard.

Look at all those lovely metaphors. Mark Booth in process #TheSeaisRepresentedbyanIrregularShape

Look at all those lovely metaphors. Mark Booth installation, The Sea is Represented by an Irregular Shape, Sector 2337, 2016.

 

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The Sea is Represented by an Irregular Shape, Mark Booth solo exhibition opening, Sector 2337, 2016.

 

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EN3MY chapbook, co-edited by Amelia Ishmael and Jason Soliday, indexes seven years of underground music history on Milwaukee Ave, Holon Press, 2016.

 

 

 

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“The sound of air within a body is represented by the den of a brown bear” Mark Booth, Saturday performance, The Sea is Represented by an Irregular Shape, Sector 2337, 2016.

 

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“A moon is represented by a keyhole” Mark Booth, Saturday performance, The Sea is Represented by an Irregular Shape, Sector 2337, 2016.

 

Found cleaning the office: postcard from anonymous friend documents weather

Found cleaning the office: postcard from anonymous friend documenting weather, Sector 2337, 2016.

 

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The Fortieth Day perform in relation to Bleeding Black Noise, an exhibition in the project space curated by Amelia Ishmael, Sector 2337, 2016. 

 

The Fortieth Day perform in relation to Bleeding Black Noise, an exhibition curated by Amelia Ishmael, Sector 2337, 2016.

The Fortieth Day perform in relation to Bleeding Black Noise, an exhibition in the project space curated by Amelia Ishmael, Sector 2337, 2016.

 

Aldo Tambellini reads poetry in conjunction with Bleeding Black Noise, an exhibition in the project space curated by Amelia Ishmael, Sector 2337, 2016.

 

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The mother’s death wish / disguised as longing / for heaven the limp plastic hat / she kept folded / in her purse in case of rain” —MRB Chelko, Afterlife Be

 

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“Someone I sidestep to avoid / banging shoulders with on the street /could have held their lips / against the same wineglass as mine: / a kind of kiss, minus the time /that fills what we call windows.” — Sarah Stickney, “Vibrating”

 

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“Brake light out; kid lying awake. / Full tank of gas, toddler strapped in. / Whoever gives good advice sees the future.” — Anthony Madrid, “The Driving Instructions

 

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“Hustle and flow/it’s hard up here for a finch/it’s hard up here for a finch/nature never repeats itself” — Chuck Stebelton

 

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“They say everything that’s ever written is part of the community journal / How elastic is the community” — Paul Drueke

 

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“…ezhi-zhoomiingweyaangoba / and all the ways we’ve smiled / mooshkine moodayaabikoong / into jars filled to the brim / ji-baakaakonid pii bakadeyaang. / to be opened when we are thin.” — Margaret Noodin, “Umpaowastewin

 

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“An absence of shadows is represented by the sky, which is shared by all” Mark Booth, The Sea is Represented by an Irregular Shape, Sector 2337, 2016.

 

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“An unmistakable itch is represented by a hall of crystals” Mark Booth, Final Saturday performance, The Sea is Represented by an Irregular Shape, Sector 2337, 2016.

 

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Marissa Perel performs “’Oh toi, ma persécutée!!’ my mother used to say to me,” for Magalie Guérin exhibition opening, Copy Drawings, Sector 2337, 2016. “The title of the piece, taken directly from [Guérin’s book] NOTES ON, points to the painful suspension of disbelief an artist experiences when facing ‘the blank surface—the emptiness’ that it ‘can/will actually become something’ (Guérin 19).”

Marissa Perel performs for Magalie Guérin's opening, Copy Drawings, Sector 2337. 2016.

Marissa Perel performs for Magalie Guérin’s exhibition opening, Copy Drawings, Sector 2337, 2016.

 

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Jordan Martins introducing Carol Barreto + Damon Locks, Sector 2337, 2016.

 

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Carol Barreto describes her mission to challenge history in fashion. “The VOZES collection evokes a debate about post-colonialism and questions: What does it mean to be the product of a country that was colonized? How do colonized peoples find ways to resist? The clothes show those forms of resistance through the mix of diverse materials, which bring features from the European colonizers adapted and remodeled by our African legacy in a unique multicultural result.” — Carol Barreto

 

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Damon Locks debuts new sound piece alongside Carol Barreto, Sector 2337, 2016.

 

Release of two new Green Lantern Press titles, NOTES ON and culebra.

Release of two new Green Lantern Press titles, NOTES ON (Magalie Guérin) and culebra, (Roberto Harrison), 2016.

 

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“To speak as a bomb is outside in the cold / as narrow is to arrive,” Roberto Harrison, culebraSector 2016.

 

"By ideology I mean just how the dog gets walked around the block" Paul Martinez-Pompa

“By ideology I mean just how the dog gets walked around the block” Paul Martinez-Pompa, celebrating the release of culebra (Roberto Harrison) and Zenith (Patrick Durgin), Sector 2337, 2016.

 

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Live music performance by Carol Genetti and Albert Wildeman celebrates the release of culebra (Roberto Harrison) and Zenith (Patrick Durgin), Sector 2337, 2016.

 

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“The pedagogy of her work required time to explain, and its eventness, that it happened in time and space collaboratively… was at the heart of what people almost always wanted to know.” — Malcolm Sutton debuts his novel, Job Shadowing (Bookthug, 2016).

 

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“Celine and Julie come of age in an emerging neoliberal horrorscape, but they don’t have anything to compare it to—other places and other ways of living are a fantasy for them.” — Joni Murphy in an interview with Chris Kraus about her debut book, Double Teenage, (Bookthug, 2016).


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“And then later, or now, I believe that in the last position, we don’t want to be categorized according to something we feel no association with and it’s only if that name appears as the island in the midst of currents you cannot trust, that it will do. An unknown. It’s waiting. Every name has a history, doesn’t it? And when I think of a name, I think of a cave. Every name is I.” — Pophana Brandes, In an I (Sidebrow, 2015).

 

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“Handbook for Photographic Investigation is a lecture about historical and paranormal mysteries and their photographic representations. The visuals for the lectures are created live, on-site with a copy machine, and are presented to the audience via projection.” — Jenny Vogel, “Handbook for Photographic Investigation,” Sector 2337, 2016.

 

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Jenny Vogel, “Handbook for Photographic Investigation,” Sector 2337, 2016.

 

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Peter O’Leary reads from The Sampo with Robert M. Hutmacher, ofm on harp. “How does a poem flash as an entire holographic thing in an instant? It came from some deep source, of course. What’s the source? Fantasy.” — Peter O’Leary

 

Reading with Sara Deniz Akant, Margaret Ross, and Callie Garnett, Sector 2337, 2016. Photo by Amelia Charter.

Reading with Sara Deniz Akant, Margaret Ross, and Callie Garnett, Sector 2337, 2016. Photo by Amelia Charter.

 

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“construct this reality / ask me a question / a thought experiment / memory is a story / i can tell myself” — Bernadette Mayer and Jen Karmin. Appearing at Sector 2337 with Philip Good to release their new book, Sexual Organs of the IRS (Convulsive Editions, 2016). Photo by Amelia Charter.

 

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Jen Karmin and Bernadette Mayer, Sector 2337, 2016. Photo by Amelia Charter.

 

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Philip Good reads alongside Jen Karmin and Bernadette Mayer, celebrating the launch of Sexual Organs of the IRS. Sector 2337, 2016. Photo by Amelia Charter.

 

Brilliance! Opulence! Gloom!, Trunk Show installation by Alexandria Eregbu, courtesy of Trunk Show, 2016.

Brilliance! Opulence! Gloom!, Trunk Show installation by Alexandria Eregbu, image courtesy of Trunk Show, 2016.

 

“Like a stone I throw into the water / to settle the disembarked people of my dreams…” Edgar Garcia

 

“Shadows pressed against the rock / as with wet hands pressed against clay” Jose-Luis Moctezuma, “Plumed Serpent On Southwest Airlines”, celebrating his new chapbook Spring Tlaloc Seance (Projective Industries, 2016).

 

"I need more time to write a shorter suicide note" Daniel Borzutzky / #OnThePerformanceofBecomingHuman

“I need more time to write a shorter suicide note” Daniel Borzutzky, On The Performance of Becoming Human (Brooklyn Arts Press).

 

ac Kuntz will discuss her research trip across the Southern United States and contemporary visual art of that region as it relates to community. Amie Soudien will present her research from the archives of Ebony magazine, examining its notions of beauty, and cultural significance during an era of reclaimed African heritage. Ana Sekler will present Chic Shifter, her a digital fashion publication that examines the fashion cultures of Chicago and the Midwest, emphasizing criticality over frivolity. Hannah Larson will present the publication, Arttoo Magazine, a synthesis of contemporary tattoo culture and intersectional feminist convictions, wi

Amie Soudien presents with Jac Kuntz, Ana Sekler, and Hannah Larson during the School of the Art Institute’s Graduate Symposium for New Arts Journalism, Sector 2337, 2016.

 

Jessica Hopper speaks during the New Arts Journalism symposium, Sector 2337, 2016.

Teenage girls are the number one purchasers of music. Are we going to say their fandom is fake?” — Jessica Hopper appeared at Sector 2337 for SAIC’s New Arts Journalism Graduate Symposium, 2016. Photo by Amelia Charter.

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Imperceptibly and Slowly Opening opens at VOX POPULI

Sector’s 2015 fall exhibition, Imperceptibly and Slowly Opening, opens this Friday, May 5th at at Vox Populi in Philadelphia along with Jesse Harrod’s “Toxic Shock and the Hot Dog,” Matt Kalasky’s “All Time Top Phonies,” Julia Staples’ “Your Best Life Now,” and FOURTH WALL: Gunnar Jónsson’s “They long to be (close to you)”

Vox Populi is open to the public Wednesday through Sunday from 12pm to 6pm.

VOX POPULI, 319 NORTH 11TH STREET, 3RD FLOOR, PHILA., PA 19107

About the Exhibition: Responding to a new field of critical thought, Imperceptibly and Slowly Opening uses the group exhibition format to explore the strangeness of plants, and how they trouble human structures. Vegetal life forms are banal in their ubiquity. Undeniably alive, yet silent, they creep upwards, their roots submerged and out of human sight. Like anarchists protesting order, weeds break through concrete. Plants challenge theoretical logic as well; they can be both one and many: Aspen trees growing on a hillside share a single root system. Plants have occupations and desires: engaged in constant growth, they spread out with a will to consume and occupy space. Studies confirm that plants communicate and communicate and activate built-in chemical defense mechanisms to ward off predators. Some even move visibly: Mimosa plants close in on themselves when touched by a human finger. This would suggest some kind of sentience, but what would the character of that sentience be? How do we quantify it? Imperceptibly and Slowly Opening highlights the inaccessible subjectivity that plants possess. Proposed artists install multi-disciplinary artworks showing plant life as it troubles both physical and ideological human spaces. This exhibition is part of an on-going investigation that began with Field Static (The Co-Prosperity Sphere, 2012), Ghost Nature (Gallery 400 / La Box ENSA, 2014), and congealed last fall in a group show about the material of the human body, The New [New] Corpse (Sector 2337, 2014). Following suite, Imperceptibly and Slowly Opening examines the verdant strangers among us. An affiliated catalogue with writing by Its affiliated and forthcoming catalogue (The Green Lantern Press, 2016) contextualizes participating artists with writing by Giovanni Aloi, Joela Jacobs, Renan Laru-an, Michael Marder, Catriona Sandilands, Steven Shaviro and others is forthcoming from The Green Lantern Press this fall. Images from the first iteration of the exhibition can be seen here.

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First Fridays at Vox Populi are generously supported by the John S. and James L. Knight Foundation

More details here.

Copy Drawings: Installation View

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

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Left to right: Magalie Guérin, Copy Drawing (hat-ham)—B&W, 2016, Graphite on paper, 27×23″; Magalie Guérin, Copy Drawing (hat-ham), 2016, Color pencil on paper, 27×23″. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

Magalie Guérin, NOTES ON, Studio Journal, First Edition of 540, The Green Lantern Press, 2016. Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, NOTES ON, Studio Journal, First Edition of 540, The Green Lantern Press, 2016. Installation View, Sector 2337, 2016. Photo by Clare Britt.

 

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Magalie Guérin, 100 Small Copy Drawings, 2016, various medium on paper, 8.5×11” ea. Photo by Clare Britt.

 

Magalie Guérin, Copy Drawings, Installation View, Sector 2337, 2016. Photo by Clare Britt.

Magalie Guérin, 100 Small Copy Drawings, (detail) 2016, various medium on paper, 8.5×11” ea

 

 

 

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Bleeding Black Noise : Installation View

 

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

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Bleeding Black Noise, Installation view, Sector 2337, Chicago, 2016. Photo by Clare Britt.

 

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The Sea is Represented by an Irregular Shape : Installation view

All photos by Clare Britt

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “MIGRATORY SHAPES,” 2016. Steel and wood, 12 units. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “MIGRATORY SHAPES,” (detail) 2016. Steel and wood, 12 units. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “The Sea is Represented by an Irregular Shape,” 2016. Installation view, Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “‘THIS representing ‘THAT’ ( 59 units) and IS (third person singular of ‘be’) (5 units),” (detail) 2016. Acrylic and ink on paper. Sector 2337, Chicago, IL. Photo by Clare Britt.

 

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Mark Booth, “POLYP,” 2016. Acrylic and ink on paper. Photo by Clare Britt.