Friday, May 25 10:00 pm
TERRITORIAL TESTIMONIAL -
CHICAGO - NEW YORK no.2!
A consortium of School of the Art Institute of Chicago current performance students and alumni come to Grace Exhibition Space.
Tuesday 5/22 @ 6pm - Artist Lecture
Thursday 5/24 @ 6pm - Artist Workshop
Friday 5/25 @ 11am - A "City Souvenirs" Neighborhood Walk -
LIENE BOSQUÊ + NICOLE SEISLER
Walk begins from Grace Space. Track their progress on GPS at citysouvenirs.wordpress.com.
Friday 5/25 @ 8pm - 11pm
PERFORMANCES FROM FEATURED SAIC ARTISTS
curated by MAURA LUCKING
"The map is not the territory," wrote philosopher and semanticist Alfred Korzybski in 1931. The objects and structures with which we build our world are not human, but they are what constitute our humanity. What dictates the relationship between the human body and the historical, organic and technological networks that surrounds it? Where do we draw the line between ourselves and our territorial conquests? Can we, in Deleuze and Guattari's words, deterritorialize ourselves from the very networks we've created? Through the thoughtful re-introduction of the human body to places and landscapes typically overlooked, their sentience and personality are revealed, in equal turns comical and tender. To explore the discrete objects of territorial infrastructure through a methodical eye is to flatten the power dynamic between the individual and their environment, ultimately revealing overlooked aspects of our own identity through the places and things we make and inhabit.
SAIC Performance Exchange - Included Artists:
Meghan Moe Beitiks
Rambox is what happens when Sylvester Stallone and Meghan Moe Beitiks go head-to-self-healing-head. Who really wins in a battle of self-improvement?
Liene Bosquê + Nicole Seisler
City Souvenirs blends Liene and Nicoleʼs interests in site-responsive work, the use of walking as a tool for art making, and the goal of creating tangible connections between people and place. Identifiable by our embroidered uniforms, hand-fabricated steel cart, and blocks of wet porcelain, we walk through neighborhoods in search of signature architectural details that visually and culturally define each place. By making direct impressions of these hallmarks in clay and inviting passersby to do the same, we build collections of objects that evidence the relationship between individuals and the urban landscape, and how the distinct elements of our environment influence the ways in which individuals operate and move through a city. The clay acts as a conduit to heighten an individualʼs sensation of touch and physical connection to their surroundings, and the resulting impressions become records of particular moments between people and places. Installed in the gallery on hand-fabricated steel display systems, these porcelain objects become a map and archive of the character of each particular place.
Working intuitively and with sustained motion while allowing the viewer to act as witness A durational performance will happen over the two hours of the evening event. Through sustained motion while allowing the viewer to witness the experience of creation by the artists. Through the repeated layering of the infinity symbol and physical gestures informed by basic movements utilizing my full range of motion through extension, leaping, and dipping these basic movements of dance or attack allow for the work to emerge. The drawing will envelope the space marking the passing of time through the movement bridging the unconscious. The experience of the gestural wall drawing will serve as a conduit to the audience. Walter Benjamin stated that “drawing exists at another level (than painting) within the human psyche- it is a locus for signs by which we map the physical world, but it is itself the pre-eminent sign of being. Therefore, drawing is not a window on the world, but a device for understanding our place within the universe” it is a transformative act. The expanse of the drawings will be directly related to the span of the artists reach. As the artist, I am placing myself into the work, asking my body to transform as I move through the space. In addition to a physical transformation, I will be experiencing a mental transformation as I consciously confront the actions and results of my process. The drawing serves as a mnemonic of its creation and the chaos evocative of the personal and the universal experience.
The human body is represented as a cold mechanical machine in modern popular science. This reflection makes evident a certain flaw in our perception of the body and of science. The body is seen as a machine because of our personal goals in promoting the acceptance of the age of mechanical reproduction. Using found language from modern science television including commercials and the marketing of scientific treatments. Specifically one’s that are produced for you for profit. These views of the body promote containing it within the clean and rational objects of science. For my project I wish to engage with pervious work I have done with the found language of popular science, performative lecturing, and my recent research on attempts to define the boundries of the body. We attempt to separate ourselves at our skin. Anything excreted and placed outside the skin become dirty and otherized. The mark of the dirty is there to shame us into a state of directed rationalizations. But what if our bodies didn’t end at our skin but included our traces.
Endurance, time, life cycle, nature and flesh, this project explores the contact between life and death.
Hannah Sabri Reed
Untitled on Skates
As in reading a novel with multiple protagonists, there is pleasure in fore-seeing how their trajectories intersect, and a pleasure in unexpected collision, a broadening of possibilities. My materials, tools, and objects are the actors, and they are curated from my daily interactions and absurd musings. For me to complete the performance is to navigate these entangled routes of transformations (physical and symbolic) of all of the materials present including my body. To negotiate this live, presents quotidian objects and actions as ripe with politics and magic. The woman who performs is attentive, humble, absorbed in her task, engaged with the other humans in the room, naked, confident, and ambitious. She is not needy. She mumbles. She attempts to change the world in 30 minutes and leaves barefoot with a toolbox.