Prior to Amelia Ishmael’s upcoming curatorial project at Sector, she interviewed a number of the contributing artists. We compiled those interviews below. Bleeding Black Noise opens this coming Friday from 6-9pm.

Gast Bouschet & Nadine Hilbert , http://wavelengths.ameliaishmael.com/2011/11/22/an-interview-with-gast-bouschet-vibrations-of-light-and-sound-to-trigger-seismic-molecular-events-to-shake-the-wall-to-break-down-barriers/

Faith Coloccia   http://wavelengths.ameliaishmael.com/2012/08/07/an-interview-with-faith-coloccia-sympathetic-magic-visual-scores-archives-and-memory/

Niels Geybels http://wavelengths.ameliaishmael.com/2013/01/03/an-interview-with-niels-geybels-sequences-monoliths-and-beneath-the-earth/

Michaël Sellam   http://wavelengths.ameliaishmael.com/2013/04/18/an-interview-with-michael-sellam-black-metal-forever-radical-transformations-and-reptilian-squamate/

and

Jon Cates http://wavelengths.ameliaishmael.com/2013/08/29/an-interview-with-jon-cates-water-noises-datastreams-memory-glitches-dirty-new-media-lake-swimming/

Stephen O’Malley http://wavelengths.ameliaishmael.com/2011/12/05/an-interview-with-stephen-omalley-of-descent-burning-witch-hyperion-ensemble-sunn-o-imagery-concept-and-sound/

“Roots & Culture is emphatically thrilled to announce ROOTS, the first of its 10th Anniversary exhibitions (the second, predictably titled show, CULTURE will open June 25th, stay tuned for more info). In the spirit of a sort of active nostalgia, I decided to look backwards to the scene that set the stage for Roots and invite four of my favorite, most influential spaces from the greater Wicker Park area of the mid-aughts to stage new projects at the gallery.  Though retired (or reconfigured), these four programs, 40000, artLedge, duchess, and Green Lantern, inspired energies of possibility, inclusivity, and hybridity that continue to reverberate in the halls of R&C today. Each space is mounting a new project within the exhibition. Tying the show together is a selection of works by artists who overlapped with programming at R&C including Mike Andrews, Amanda Browder, Howard Fonda, Brian McNearney, Heather Mekkelson, Jamisen Ogg, Carmen Price, Shannon Stratton, Alexander Stewart, and more.” — Eric May, Executive Director

On View at the Gatehouse Gallery at the Betty & Edward Marcus Sculpture Park
at Laguna Gloria
&
Organized by Julia Hendrickson

“Lise Haller Baggesen (Danish, born 1969 in Aarhus; lives and works in Chicago) opens her book Mothernism (Poor Farm Press/Green Lantern Press, 2014)—a potent, purple object edged in the crisp silver of a fresh Wrigley’s gum wrapper—with an account of a long drive on the German Autobahn, followed by an ode to Donna Summer’s sultry disco style and lyrics from David Bowie’s 1979 song “Fantastic Voyage.” 1979 was the International Year of the Child, the heyday of disco, and for Baggesen, the touchstone for her multifaceted project, situated (as she describes it) at “the intersection of feminism, science fiction, and disco.” At The Contemporary Austin, Baggesen presents Mothernism in a new, site-specific iteration, the artist’s first solo museum presentation of this project and her first exhibition in Texas.” — Julia Hendrickson, Registrar & Assistant Curator for Special Projects, The Contemporary Austin.

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Mothernism is also included in a group show, The Let Down Reflex, opening at the Elisabeth Foundation (323 W. 39th St, 2nd floor, NYC) on January 30th and running until March 12, 2016.

VOX POPULI, Philadelphia (May 05-Jun 18, 2016)
&
REVERSE (July 08-July 30, 2016)

The Green Lantern Press is pleased to announce that two variations of its fall show about plants, Imperceptibly & Slowly Opening, are travelling to the East Coast this summer. From May 05-June 18, 2016 one iteration of the show will take place in Philadelphia at Vox Populi. From July 08-July 30th, a second iteration will occur in Chelsea, New York at REVERSE. An exhibition catalogue will be available for those iterations; details of participating artists and affiliated programming is forthcoming.

Responding to a new field of critical thought, Imperceptibly and Slowly Opening uses the group exhibition format to explore the strangeness of plants and algae, 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 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.