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Inhouse Newspaper Sector No 2 Now Available

Designed by Designer-in-Residence Koen Slothouber

Designed by Sonnenzimmer/Sector 2337 Design Resident Koen Slothouber during his Design Residency last May, this publication features writing and artwork by Joel Craig, Alexandria Eregbu, Magalie Guérin, Jessi Haley, Roberto Harrison, Leon Andrew Hensley, Ernest Hogan, Kuras and MacKenzie, Esau McGhee, Caroline Picard, Josh Rios and Anthony Romero, Amina Ross, Ellen Rothenberg, and Stephen Williams.

Last year we spent a lot of time talking to Sonnenzimmer about how to create newspaper that captured the first ten years of Green Lantern’s history. We came up with this newspaper — what many of you have likely seen if you came by the space last year or bought a book from our online store. After living with that publication for so long, we decided to continue with same concept, incorporating the work of multiple authors and artists while announcing our own upcoming events, and reflecting on specific Sector events. The result is this second edition, available for free at the gallery. As is customary, we also include a complimentary copy with any online book purchases.

Some highlights in this issue include “A calaca in a spacesuit: Confessions of a sci-fi chicano artist” by Ernest Hogan! A Homeric Hymn by Stephen Williams! A poem by Roberto Harrison! Fiction by Jessi Haley! An excerpt from Magalie Guérin’s studio journal (soon to be published in its entirety by The Green Lantern Press)! Another poem by Joel Craig, typeset by the poet himself! A curatorial essay by the extraordinary Alexandria Eregbu on the subject of her upcoming Sector show, Tertiary Dimensions! And much much more….

LaHoule

An Interview with Publishers in Residence: La Houle

June 20-June 25

La Houle (Jef Caro and Marie Lécrivain)  will be publishers in residence at Sector for one week (June 20-June 25). During that time they will install a collection of their publications, works in progress, and a curated lending library with additional books that help contextualize their own publishing projects. On June 24th La Houle will present some of their work in conversation with a few parallel Chicago publishers. For the moment, I had the opportunity to interview them about their press.

Caroline Picard: How did La Houle begin? What drew you both to collaborate in print?

La Houle: La Houle started as an idea in 2011, out of a will of associating our backgrounds in books. Jef had worked for a while in a publishing house and as a literary translator, while Marie was a trained graphic designer with an interest in editorial practices and already collaborating in artist’s book projects, as well as working as a bookseller. We launched our first publication in 2012, in collaboration with artists and authors we already knew, Adam Biles, Manon Rousseau and Béatrice Lortet. We started working only in print, but are interested in every format.

CP: Can you talk about the trajectory of you publications? Did certain projects demand different publishing strategies?

LH: Each project is taken separately in terms of design, conception, diffusion and distribution. The economic factor is also an influence that can shape the publication. We always try to find a solution of making publication possible with the quality required in relation to the artist or writer work but also which are affordable and collectable, without being only limited or signed editions. The idea is to always play with the contemporary modes of production available and to reflect on the status of each publication (artist’s book, multiple, mail art, documents, poetry collection). Diffusion is varied – it may be self-evident, but a short story like The Deep was more likely to draw attention in literature-oriented bookstores, while other projects were mainly diffused through art book or print fairs, like Objets Minces. At the moment, we work with a small network of European art spaces and bookshops, but we’d like to develop this aspect further.

CP: I understand that you’ll be traveling with (and installing) a mini-library of publications on loan. I’m immediately struck by how heavy your suitcases must be! And something of the way that bringing more books would make your traveling life more complicated: to that end it seems like a rather significant choice. Can you talk a bit about this curated collection of books, if there are particular books in that selection that you are excited about and how the presence of these loaned editions would reflect on La Houle publications also on view?

LH: We’re leaving for Chicago in two days, and we still have to figure how much this is going to weigh, but an extra piece of luggage won’t tarnish our enthusiasm! The idea of bringing a selection from Brussels can be traced back to 2012’s Catalogue de la Houle. In addition of gathering our current and upcoming publications, it was also a journal of sorts, featuring various conversations and written pieces, as well as a section entitled “Further Reading” that was a commented, bibliographical selection of artist’s books. In a sense, this materialized library we’re showing in Sector 2337 is another manifestation of the interest we have in publishing in the sense of a transmission and dissemination. The printed matter was collected among people we feel related to, who submitted their choices to us: artists we have published, as well as individuals, publishers and structures we have worked with at some point. We’re not showing a selection of influences, as a large portion of these publications appeared during the last two years. We’re rather displaying what happens next to us our around us, as a kind of context. A lot of our projects have been initiated through exchanges, discussions with the artists and writers. In a way, taking their printed works with us in Chicago continues our collaboration. Showing books is one manner to illustrate the fact that our work is a part of an entire dynamic, and we hope it will generate unexpected links inside the reading room and with our own publications.

CP: How do you approach font usage? 

LH: Typography is one of the main catalysts of a book. It may be a concept-driven structure or a visual element that creates the links and sometimes the tensions between the laid-out content on the page, the spread and the book as a whole. For artist’s books, typefaces are chosen in relation to the context and the type of book it is inscribed in (photography book, manual, community, series, etc.), whereas for literary books, the comfort of reading seems to be the most important factor in choosing the shape of the font. We usually also take care of the history of typefaces, their functionality and their quality in relation to the project. The typeface is part of the clues given to the reader but it should not become an overwhelming presence in relation to the content itself, so the balance is crucial. Our books all use different typefaces, except for the Objets Minces series, where the Méridien typeface actually provides continuity between the various folders.

2015 Spring in Review

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“As for the sea, it isolates the detail of an attractable ache” from Nathanaël’s new book Asclepis The Milkweeds (Nightboat, 2015)

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“The English language will endure this poem” John Beer

Terri Kapsalis, Anne Elizabeth Moore, & Tim

Terri Kapsalis, Anne Elizabeth Moore, & Tim Schwartz perform their response to our Not to be Taken performance series

Mark Booth & Becky Grajeda's Saturday Not to be Taken performance.

Mark Booth & Becky Grajeda’s Saturday Not to be Taken performance. Photo by Jesse Eisenberg.

"I know that I am getting fantastically corsetted for the Finale. / When the Finale is over I might find my own killer in the ruin porn. " Joahannes Goransson reads from his new book, Sugar Book

“I know that I am getting fantastically corsetted for the Finale. / When the Finale is over I might find my own killer in the ruin porn. ” Joahannes Goransson, Sugar Book (Tarpalin Sky Press)

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“Parakeets make the best erasure poems by shitting on the newspaper at the bottom of their cage” Nikki Wallschlaeger

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“Let me take you to your favorite store & refuse to buy you anything” Sade Murphy reads from her debut book, Dream Machine

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“We liked the idea that Ellen had offered up her own working archive.” Hannah B Higgins, Shawn Michelle Smith, & Ellen Rothenberg in conversation

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“All you need to do is lean something against the wall and then you have architecture” Ellen Rothenberg in conversation with Hannah B. Higgins & Shawn Michelle Smith

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Doa Nyugen, performs for the Not to be Taken Saturday performance series.

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Patient Sounds + Patient Press Release Party with Sammi Skolmoski & Elizabeth Bertch

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Patient Sounds + Patient Press Release Party with Paula Nacif.

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Patient Sounds + Patient Press Release Party with The Variable Why

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“Let others claim a higher love / We’ve got the bread. We’ve got the knife” Devin Johnston reads from “Far-Fetched” (FS&G)

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“Nothing says animal soul like the microbial proteins in tears” Ted Mathys reads from Null Set (Coffee House Press)

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“She wrote nothing all summer. / The book grew.” Lisa Fishman reading with The Chicago Review

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“They are aphorisms not poetry” #acknowledgments @willy0smart

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“People in sports uniforms engage in cos-play” James T Green

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Alexandria Eregbu leads a reenactment of Simone Forti’s “Huddle” for our Saturday performance series, Not to be Taken. Photo by Deanna Ledezma

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Becoming Your Meaning (Connie West and Kaleigh Moynihan) : A sculptural, fabric, live performance exploring visual and physical communication human/cuttlefish. (During Psychoecologies: A BioSemiotic Salon)

"I saw a cloud and it said, cloud" Jeff Sherfey celebrates the release of his book #SwimmingPools from PolyploidPress

“I saw a cloud and it said, cloud” Jeff Sherfey celebrates the release of his book #SwimmingPools from PolyploidPress

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“In January you’re glad for the gold you see in people’s molars” Leila Wilson

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Waveforms

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Waveforms

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“Add a cartoon sometimes. People need cartoons to function” Josh Rios & Anthony Romeros

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“I thought there was a general evaluation that it had been a disaster” Fo Wilson & Ira S Murfin perform “Our Theatrical Futures”

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“Your mind is your house and you are just living in the kitchen” Fo Wilson quotes Akiko Bush

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“I once believed that having gone mad as a young woman would protect me from the inevitable. Now I know I was naive—” polyvocal reading for Suzanne Scanlon’s book, “Her 37th Year” (Noemi Press)

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“I want to be messy, to be here. Where I am, which is a mess, feels honest.” from polyvocal reading of Suzanne Scanlon’s “Her 37th Year: An Index”

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“How the rain regrets nothing, / each window is a breath / I offer. A prayer is nobody else’s moon.” Brent Armendinger, “The Ghos in Us was Multiplying” (Noemi Press, 2015)

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“Find an alternative structure. Look for entrances” To celebrate their book, Didactics, Sonnenzimmer invited musicians to employ improvisational prompts for poster design.

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“The inner logic of the book will not bend to our desire” Jack Henrie Fisher reads at Sonnenzimmer’s book release!

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Nick Butcher of Sonnenzimmer

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Nadine Nakanishi of Sonnenzimmer

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Please Don't Bury Me Alive! Part Two: Installation View

Josh Rios & Anthony Romero, "Please Don't Bury Me Alive! Part Two", Installation view, Sector 2337, 2015. Photo by Clare Britt.

Josh Rios & Anthony Romero, “Please Don’t Bury Me Alive! Part Two”, Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two.” Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two” with installation of works by Ernest Hogan, “Confessions of a Sci-Fi Space Chicano Artist.” Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two.” Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two.” Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two.” Installation view, Sector 2337, 2015. Photo by Clare Britt.

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Josh Rios & Anthony Romero. “Please, Don’t Bury Me Alive! Part Two.” Installation view, Sector 2337, 2015. Photo by Clare Britt.




February and March at Sector 2337

"The communities from which we speak are made possible by the particular spaces we inhabit" December Artist in Residence Daviel Shy talks about her cinematic  homage to Djuna Barnes. The Ladies Almanack

“The communities from which we speak are made possible by the particular spaces we inhabit” December Artist in Residence Daviel Shy talks about her cinematic homage to Djuna Barnes. The Ladies Almanack

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“We don’t like lists because we don’t want to die” Brandon Alvendia quotes Umberto Eco

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Silvie Jensen sings Baldessari Sings Sol LeWitt

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“To my astonishment no one learns their lines and all the rehearsals turn into parties.” Snezana Zabic

"I want to be here is the simplest form of praise I know" Anthony Opal reads from #Action

“I want to be here is the simplest form of praise I know” Anthony Opal reads from #Action

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Joel Craig introducing Aaron Kunin and Olivia Cronk

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“It’s impossible to live as I want to/ inside a television montage” Olivia Cronk

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“The shape that books have in your head is the same shape that bikes have in his head: freedom” Aaron Kunin

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“The thing about the stage is that it provides infinite narrative,” Kelly Kaczynski

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“My ideas of what I should be capable of get in the way of what I am capable of” Ira S. Murfin #OurTheatricalFutures

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Kelly Kaczynski and Ira S Murfin present “Our Theatrical Future: A Talk Duet Between Hong Kong and Chicago (Re-Performed)”

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Rehearsal for Suzanne Scanlon’s “Her 37th Year”

And a couple of videos: