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Installation Photographs of Everything is Still Really Interesting

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Kuras & MacKenzie, “Everything is Still Really Interesting,” installation view, 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Poor Little Ad Reinhardt, version 13 (Tribute),” Wood, plaster, tool dip, acrylic paint, 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Everything is Still Really Interesting.” Installation view, Sector 2337, February 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Stanza IV,” mixed media, 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Everything is Still Really Interesting.” Installation view, Sector 2337. Photo by Clare Britt.

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Kuras & MacKenzie, “Talented,” laser prints, wax crayon, 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Karl Marx Disco Ball (Bomp, Bomp, Bomp),” wood, styrofoam, cut mirror, 2015.

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Kuras & MacKenzie, “People Like Me,” Silkscreen (e d. of 8, 2 artist proofs) , 2010. Photo by Clare Britt.

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Kuras & MacKenzie, “Stanza V,” Mixed Media, 2015. Photo by Clare Britt.

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Kuras & MacKenzie, “Welcome to the Sea of Bastards,” gold leaf on windows. Installation view, Sector 2337, February 2014. Photo by Clare Britt.

 

 

New New Corpse BackCover

Are you in this picture?

We are working on the catalogue for The Green Lantern Press’ first exhibition at 2337 N Milwaukee, The New [New] Corpse. It’s shaping up to be an exciting publication that platforms sixteen artists with written contributions from another sixteen authors. We’ll be sharing details about that in the coming months, but for the moment we have a question: Are you in the above photograph? We want to print it on the inside back cover of the book, as it was the very first night Sector 2337 opened it’s doors last fall, and it seemed especially exciting to include images of an occupied gallery; we hope you’ll give us your permission to do so. Please email us if you any questions and/or concerns. We’d love to thank you properly! info@sector2337.com

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Symprovisation on Art and Empathy: Recording Now Live

Last November Erik Hagoort came to Chicago and organized a participatory discussion about art and empathy. He calls this form a “symprovisation” and though the discussion was not public, the rehearsal was. Recently Hagoort published the private discussion on soundcloud.

Symprovisation on Art and Empathy_ Rehearsal at Sector 2337, Chicago on November 5, 2014

“Symprovisation on Art and Empathy, Rehearsal” Left to right: Jason Pallas, Tricia van Eck, Erik Hagoort, Kirsten Leenaars, Caroline Picard. photo: Albert van Westing

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Hyper-Pluralities for a New Becoming

The Exhibited Body in Contemporary Art

Originally published on Artslant, Jan 2014

 

“The body is always a body that is an unfinished entity.”

—Lisa Blackman, The Body (Key Concepts), Berg, 2008

 

“We have a whole history of representation in which the black body was not the privileged body,” Kerry James Marshall said in an interview a few years ago. “So there was no crisis of representation for me, because the black figure is underrepresented.” Marshall has patiently, and masterfully installed black figurative paintings in predominantly white institutions for his entire career; this past fall he had a solo show at David Zwirner Gallery in London—what Culture Type hailed as one of six must-see exhibitions during Frieze. He is not alone, however. The figure has been steadily inching its way back into popular focus, and not just any figure either—it’s the plurality of figures that challenges a single ideal of what a body should be.

In 2014 Kara Walker’s A Subtlety: or the Marvelous Sugar Baby drew some 130,000 viewers while installed at the now defunct Domino Sugar Factory in Brooklyn. Along with its installation came a wave of controversy inspired by the white public’s tendency to take suggestive and derogative selfies beside the 30-ton sugar sphinx’s vagina. (A related lecture will take place this February at the Center for the Study of Gender and Sexuality at the University of Chicago.) The body, and tension around racial identity in the US became an international priority as multiple cases of the police brutality captured media attention. One response came by way of Claudia Rankine’s 2014 book, Citizen. A finalist for the National Book Award, it carries an image of David Hammons’ In the Hood on its cover. “Even as your own weight insists / you are here,” Rankine writes, “fighting off / the weight of nonexistence. // And still this life parts your lids, you see / you seeing your extended hand…”

read the entire article here

Month in Review: December 2014

 

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“The oysters I did not eat are in the fridge dreaming of the ocean” — Nathan Hoks reads from his book, The Narrow Circle.

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“The realm of perception includes more than what we perceive to be real” — Trevor Perri talks about filmmaker Stan Brackhage

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“The leaf becomes a leaf upon which a sentence might begin” Patrick Morrissey reads “Prospect” from his book, The Differences

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Division of Labor co-curators Christa Donner and Thea Liberty-Nichols at the reading they co-organized, Co-occupations.

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“The work of these mother artists has become the feminist mother I never had” Lise Haller Baggesen at the Co-occupations reading.

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“A lot of my work comes from these hidden, embedded tactics” Candida Alvarez at Co-occupations reading.

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“I am house I am home I am feminine I am masculine” — Claire Ashley reads from her manifesto at Co-occupations reading event.

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“I’m trying to bite you and you won’t let me” Keiler Roberts reads from PowderedMilk at Co-occupations reading event.

"A righteous man is a terrible enemy" — From Seven Against Thebes

“A righteous man is a terrible enemy” — From Seven Against Thebes, (new translation  by John Tipton forthcoming from Flood Editions), staged at Sector 2337 by Devin King and John Tipton, with Laura Goldstein, Patrick Morrissey, Suzanne Scanlon, and John Tipton.

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Jane Jerardi presents “Tenuous” an in-process work developed during her November artist residency. Photo by Caroline Picard.

Jefferson Pinder, Thoroughbred, 2014. Performance Still. Photo by Hope Esser.

Jefferson Pinder, “Thoroughbred” (still from performance) with Noah Coleman, Marvin Tate, Anna Whitehead, Danny Giles, Alexandria Eregbu, Monica J. Brown, and Pablo Van Winkle. Dec 18, 2014. Dead Weight Performance Series, Sector 2337. Photo by Hope Esser.

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Amelia Charter, Conditions, (still from performance) with Precious Jennings, and Adam Kerbel, Dec 18, 2014. Dead Weight Performance Series, Sector 2337. Photo by Hope Esser.

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“Watching flickering light is counterintuitive. Sometimes it hurts, makes my eyes water. But there is a challenge to keep watching, something satisfying in scrambling the normal limits of human visual perception” — From Christy LeMaster’s forthcoming curatorial essay about the New [New] Corpse film screening she organized at Sector 2337.

And an excerpt from a musical performance: