New Book Edition release, ft. moi et al in artist book TALISMAN (Furor)

The TALISMAN includes a collection of body stick tattoos of more than 70 international positions contributing with artistic, poetic and literary art works. The form of the book resembles a stamp album and sustains the character of an individual collection which as well operates as a contemporary document.

Der TALISMAN ist ein Sammel-Album, bei dem über 70 künstlerische, poetische und literarische Beiträge in Form von Hautklebe-Tattos aufeinander treffen. Das formal an ein Briefmarkenalbum erinnernde Objekt trägt als Kollaborationsprojekt den Charakter einer individuellen Sammlung und ebenfalls eines Zeitdokuments.

Talisman_1.jpg

The TALISMAN includes a collection of body stick tattoos of more than 70 international positions contributing with artistic, poetic and literary art works. The form of the book resembles a stamp album and sustains the character of an individual collection which as well operates as a contemporary document.

Talisman_5.jpg

12 pages with 80 skin tattoos different sizes 
Hardcover, 22 x 32 cm
Graphic Design by Beureu-P
Made by Bekros in Brno, CZ
Published by Edition Furor 2017

Participating artists

Roman Achitz, AT 
Kurdwin Ayub, IRQ/AT
Karolin Back, GER
Agnieszka Baginska, AT/PL
Mariola Brillowska, GER/PL
Claudia Apel, GER
Ida-Marie Corell, GER
Stephan Dill, GER
Michael Dörner & Maria Wende, GER
Hélène van Duijne, AT
Eugen El, BY/GER
Cornelia Enderlein, GER
Mert Esirci, TR
Maximilian Eulitz, GER
CLUB FORTUNA, AT
Roland Gätzschmann, GER
Gelatin, AT
Graw BöckIer, GER
Norman Hildebrandt, GER
Barbara Höller, AT
Hatschepsut Huss, AT
Miriam Jonas, GER
Aaron Klamp, GER
Andi Klotz, AT
Susanne Köhler, GER
Steven Kohlstock, GER
Helena Kotnik, ESP
Charlet Kugel, FR/RUS
Ruth Labak, AT
Adriana Lara, MEX
Xenia Lesniewski, GER/PL
Nana Mandl, AT
Boris Manner, AT
Michail Michailov, AT/BGR
Julie Monaco, AT
Rachel von Morgenstern, GER
Crystin Moritz, GER
Ina Perog, GER
Solaris Ortega, MEX/US
Fabian Patzak, AT
Rose Pacult, US
Matthias Peyker, AT
Konrad Prissnitz, AT
Giulia Ricci, IT/UK
Maximilian Rödel, GER
Andreas Rohrbach, GER
Nadine Röther, GER
Julia Rublow, UA
Rekerb Sauer, GER
Jessica Schäfer, GER
Simon Schäfer & Eva Becker, GER
Isabelle von Schilcher, GER
Ferdinand Schmatz, AT
Hanno Schnegg, AT
Marcus Sendlinger, GER
Ronja Stahl, AT
Ivonne Stark, AT
Sarah Sternat, AT
Jan Stradtmann, GER
Sylvester, AT
Simon Veres, AT
Zeljko Vidovic, BA
Salvatore Viviano, IT
Marcel Walldorf, GER
PhiIipp von Wangenheim, GER
Michael Wegerer, AT/UK
Niki Weitzer, AT
Daniel Wind, GER/AT
Hendrik Wolking, GER

Edition Furor

Rueppgasse 10/6

1020 Vienna

Austria

Friends

www.royalbooklodge.com

www.gelitin.net

www.borismanner.net

www.clubfortuna.net

www.oelfrueh.org

www.kimkardashian.com

www.perrosnegros.info

www.ivonnestark.com

www.suewag.at

www.zerosharp.org

www.rosepacult.wordpress.com

www.drknabl.at

www.raumfuerprojektion.de

www.esteban.net

www.crystinmoritz.com

www.unit7.berta.me

www.allover-magazin.com

www.genda.at

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Nana Mandl

Nana Mandl, visual Artist based in Cape Town / Vienna

Nanamandl.com

– – – 

Since I am living in a culture which is largely characterised by virtuality and social media I like to play with the co-existence of these two worlds (the virtual and the material). I like to think of myself as being part of the ‘Generation Remix’, that has unlimited access to the infinite digital archive, finds, copies and recombines pre-existing media, shapes and concepts.

Appropriating images from advertisements, blogs and by other artists, I produce work that was created on a computer, than printed on fabric and later physically modified with paper or paint. 

Using kitschy materials or subjects exposes the artificiality and superficiality that often dominates meaning nowadays.

– Nana’s bio for Celeste Prize

Alex Furlin

alex furlin.jpg

Alex Furlin
@thefurlinator – – –
Most importantly though, books are magazines are real. They have gravity. You can even stack books on top of each other to form a makeshift TV stand. That’s big. The presence of a raw, physical, individualized object allows our monkey brains to form a relationship with a book — but also a phone. And herein lies the danger. Developing existential bonds with books, which are one thing and that thing only, is directly tied into the content of the book. Nobody forms sentimental relationships with books just because they look and feel nice — though those are certainly important factors. But you bond with it because the material resonates with you. The fusion of those bonds makes books feel special, even yours. Magazines kind of replicate the same thing, inasmuch that the idea is to develop a relationship with the brand instead of a single book. But still, they live with you. They sit in the corner of your bathroom floors. Bathroom buddies.
This is the relationship we now have with our smartphones. But because the content inside the raw physical object is a never-ending infinite stream of progress, insanity, and everything between, the secondary relationship to the content and soul is lost amid a sea of convenience and list of things you forgot about and are now being told to love. And video games. And social media. There’s so much other shit to do on our phones than read that (focused, conscious) reading almost never wins out in the end. Our anxiety about being up-to-date on pointless goings-on in major social media hemispheres almost always gets the best of us (and it certainly affects the best of us as well). Articles are written to reflect an average landing time of fourteen seconds before the user hits a clink or swipes left, on to something that could potentially be better. Forever.

How to remedy this?
– – –
excerpt from Furlin’s recent Queen House Publication

Julien Fargetton

julien fargetton.jpg

Julien Fargetton
julienfargetton.com
– – –
I move. I look at the floor or very far. I observe the edges, corners and the horizon.

An attention that led me to signs, places, people.

These meetings create frictions and traces.

Then I model these forms in animated or static images, with sound or silence, drawn or put into space. –

December 2013, mistral is off. An island off Marseille: Frioul

I stroll there when I see a green task littering the sand.

Digging like a dog without a leash, and after ten minutes of effort I discovered what must be a container (that stuff in ugly plastic that smells when you open their mouths)

On the front, arabesques draw the arms of an Italian city.

A night passes … I go to Marseille but I needed to go back. The next day, early in the morning, I took a boat to pick this stuff,

equip it as a backpack and bring it back to home base. I had to give him honor, and answer to his lonely

adventure.

Then I filled the dump with a whole mess of stuff and add two straps.

The big day, the trash became my survival kit … a book, a map, a sketchbook, a tent, a sleeping bag, dried

fruits, water, sun cream and a tablet of Spasfon. It was a fantastic bazaar, indiferrenziato.

400 kilometers of walk, to experience the close terminology that separates the useless, the

useful and the futile. Where come these objects, what they tell us and how their stories become ours?

400 kilometers further: Cogoleto. My traveling companion is no longer mine. Madam Mayor

offers me a spinach lasagna to comfort me. Poetry is physical, it gives me appetite.
– – –
from his most recent portfolio, a diary entry about the work ,,Salon de Marseille,, – soap, photographies- a bar of soap from Marseille pushed along its streets for the duration of seven hours. #julienfargetton

 

,,Public Privates” Exhibition 15 April 2017

 

Tonight’s Schedule TBA
4:30-5 Local Chicago Merchandise Featured
5:30 Dan Stolar reads
6:15 Ishan Chakrabarti reads
6:45 Rose Pacult Reads
7 15 Presentation of Georgi Tomov Georgiev’s work
8 Screening Jerome Fino + Valerie Perrin’s Documentary
8:30 Screening Kurdwin Ayub’s Film
8:40 Screening Jeannie Sui Wonder’s Film
8:50 Jennifer Reeder’s Film
9:15 Music by Alvin, animation by Bill Porter
10 Music by Itsi, video by Katy Dresner
10:40 Screening of Xenia Lesniewskia’s Animation
11 Music by Rivkah Gevinson

INFO ON ARTISTS:

PUBLIC PRIVATES EXHIBITION

QUEEN HOUSE & GUESTS

§ PUBLIC PRIVATES §

Come Saturday 15 April, 5 PM 

Together with   William Amaya, Kurdwin Ayub, Andrew Boerder, An Chin, Ishan Chakrabarti, Club Fortuna, Jerome Fino, Katy Dresner, Georgi Tomov Georgiv, Rebirth Garments, Rose Pacult, Valerie Perrin Bill Porter, Jennifer Reeder, Dan Stolar and others. Curated by Rose Pacult

time to disrobe .

MUSIC

AlVIN 

ITSï

RIVKAH GEVINSON

Ready the Kaleidoscope citizen.

Queen House asks for discourse and blank donations.

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Gallery and Tangential Unspace Lab

1542 N Milwaukee Floor 2

60622 Chicago

Beware!

The event will begin promptly at 5 pm and will be held in any circumstance.

Scheduling…..

Installations by An Chin and Katy Dresner.

Readings and Performances and Screenings by everyone else.

 

Kurdwin Ayub

Screening of Kurdwin Ayub’s << Wrecking Ball Iraq >>

This video is about Hendrin, who is living in northern Iraq. His Idol is Miley Cyrus. Actually he is has to hide the way he is, but he doesn’t want to. He is proud of dancing like Miley. Kurdwin Ayub was born in Iraq 1990. She is working as an independent director, writer and performance artist in Vienna. Ayub was studying in the painting and animation class of Judith Eisler at the university of applied arts Vienna from 2008 to 2013. Simultaneously (2011) she was also participating in the class for performance art by Carola Dertnig at the academy of fine arts Vienna. Since 2010 she has been part of many film festivals and solo presentation in Austria and abroad. 2011 and 2012 she received the short film prize of the Viennale and 2013 the Vienna Independent Shorts Newcomer film prize. Her first feature-lenght „Paradise! Paradise!“

The film won awards several times internationally. It is about her father Omar, who is homesick and has decided to visit relatives in his hometown of Dohuk again, after he, Kurdwin and their family were forced to flee from Iraq in 1991, but this time in order to purchase property there. With a camera in hand, Kurdwin accompanies her father on visits with relatives, real estate agents, and even soldiers in a war zone within reach of the IS. The places and people they encounter repeatedly call into question Omar’s glorified picture of Kurdistan, a place he calls “Paradise”. Currently she is directing her next features.

Andrew Boerder

I would best describe my work as generally autobiographical, not necessarily in reference to  people places or things things that have actually happened to me  or that I have encountered but I would say landscapes or entities that inhabit my own cerebral dreamscape, either waking or subconscious. My work may be quite simply interpreted as in the pictured piece Fountain of Youth ; or I may have no idea of the actual meaning of my work. I do not feel that work created without a specific subject matter in mind is nullified by a lack of purpose, in fact I feel work that may be deemed directly purposeless by its author may be more meaningful than work created with concrete subject matter. So called “purposeless” work has almost more meaning I feel as it was generated out of unnamed compulsion coming from the core of one’s being, created solely for the purpose of physical realization of a fantasy. Such work I happily leave open to interpretation, and may mean something different to each individual viewer.

— A.B. 2017

An Chin

For the first time ever An Chin (Taiwan) presents her paintings in the USA. The gallery switches from a place reserved for observing to a carnival under continuous stimulation: visual and physical hydra held between the discouragement of a quick gaze and the celebration of a double take.

Chin crafts a model of the world where macrocosms and microcosms communicate tension and power balanced on the very complex to the simple manifolds. Most notable for colour, patterns, mark-making techniques and use of distance, An Chin paints in a symbolic manner most suggestive of a young Gustav Klimt.

Enquiries into her work may be directed and forwarded here: rose@possible-books.com

Ishan Chakrabarti

Ishan Chakrabarti (Bengal/USA) reads his translation of The Poet and the Prostitute: The Tale of Bilvamangala and Chintamani (Breach Press).” The book is handmade and designed in a format that references 17th-century Bangla manuscripts; it features illustrations by Natalie Bradford.

Though history can offer no prescriptions, it can guide us; tales from the past open spaces for current debates—they give us something to think with, something to think through. This story helps recover something that has slipped out of the tradition: the role of women as teachers of men, women as agents in crafting the very tradition that seems to have written them out. For contemporary readers, the tale also reveals the surprising place of sexuality—and sex workers—in the history of religions.

-IC

Ishan is a doctoral student in the department of South Asian Languages & Civilizations at the University of Chicago. His research engages pre-colonial South Asian literature broadly, with a focus on Sanskrit, Bangla and Hindi works from the 11th-18th centuries.

Katy Dresner

Katy Dresner developed a MAC computer application in Unity called <<FAKE TITLE>> (title to change with the news). This three-dimensional model allows the viewer to navigate a model of the world using the keyboard, like a video game. The walk goes through overwhelming mixes of news media, fake news media, and the viewer is dropped into a content wormhole. Fictional and nonfiction are presented in chaotic unison — this complexity reflects the difficulty in defining truth in any moment today.

Known as the premier American Digital Pioneer to know internationally, Katy Dresner is a Midwestern American classically trained as a textile artist, and is an autodidact in computer networks and computer systems. CICA Museum South Korea’s recent exhibition <<The International Exhibition on Digital Culture>> presented Dresner’s physical and web-based installation TELEPRESENCE, a work interacted with by lying on a bed. Upon contact with the mattress, visitors trip a sensor that initiates audio playback of dreamlike narratives through the pillow. The audio was sourced while the artist improvisationally browsed the Internet. A camera above the installation live streams at katydresner.com/telepresence enabling visitors to simultaneously dream in bed and online.

Jerome Fino and Valeria Perrin

Through his images, Jérôme Fino questions the links between the film and its soundtrack. He directs numerous projects in the field of experimental music.

Valerie Perrin is head of the Espace multimédia gantner (France), an art center which explores in various forms and media the links between art and (new) technology.

Georgi Tomov Georgiv

Screening of <<An audio-visual representation of the comparison data of two coastal towns>> by Georgi Tomov Georgiv (Bulgaria).

Being born in Sofia, his cultural upbringing is balanced on a thin string separating east and west, keen to both but not belonging to either. A duality inherent as a technique in his practice, weaving the matters, both metaphysical and factual, into a singular state by crafting an alternate perspective to temporality, topography, and the self as a cultural notion.

<<An audiovisual representation of the comparison data of coastal towns>> is an installation, which creates a separate reality, bringing two faraway places together based on their proximity to the world ocean. The piece draws inspiration from Samuel Beckett’s «Krapp’s Last Tape.» Interviews of people of various ages, which reside in a town situated on the Black Sea coast and in a town on the North Sea, are the basis of the installation. Interviewees of different ages represent the towns of Shabla and North Berwick. Each age—e.g. 10, 38, 77—has its own unique spokesperson, which responds to only one question: how was the past year for you? The indefinite nature of the question encourages interpretation on the part of the interviewee, constructing a literary image of the participating locality.

The piece tackles the issues of an individual’s view of society whether on a personal, communal or national level, one’s self-perception as a subject in a community and one’s self-prescribed societal role.This process exposes the habitual customs of communication in a society, providing a breakdown of a culture’s public interaction practices, touching upon matters of acceptable self-presentation and a participant’s consciously constructed self-image.

The installation juxtaposes the social demographics of each contributing locality (in this case the towns of Shabla and North Berwick). The manifold viewpoints spanning every age refract reality creating surreal parallel connecting places thousands of kilometres apart. As if in an alternate reality, the actors of the piece could be neighbours, living on the same street, sharing a garden.The work provides a common ground based on a simple quality—a participant’s age—bridging people’s fates and breaking apart the status quo superimposed by the current state of society, dissolving racial prejudice or national identity.

Rebirth Garments

Gender non-conforming wearables and accessories for people on the full spectrum of gender, size and ability custom made by Sky Cubacub

Rebirth Garments is my soft armor. My collection challenges mainstream beauty standards, sizeist/ ableist notions and the gender binary. Clothing, especially the foundation garment is the closest thing to your skin, it is your second skin; it changes the way you hold yourself. I consider it armor because it has the power to give you the confidence and strength to feel comfortable in your first skin.

Society wants us to be invisible and not draw attention to ourselves, and this is reflected through the clothing options that are available for people with disabilities and undergarments for trans* folks. I believe a simple yet effective way to combat this invisibility cloak is by refusing to assimilate through a dress reform movement. I would like to suggest a new, politically forceful aesthetic style called “Radical Visibility”. Physical visibility is an important step towards political and social freedom and equality.

Historically the needs of our QueerCrip communities have condemned us to wearing clothes that only partially satisfy our needs but are also unattractive and stigmatizing. Through Rebirth Garments, I hope to provide an option that truly fulfills all of our needs because feeling confident in one’s outward appearance can revolutionize one’s emotional reality.

I am using Radical Visibility as a call to action to dress in order to not be ignored, to reject “passing” and assimilation. As Mattilda Bernstein Sycamore says about their anthology Nobody Passes, “I’m seeking to shift conversations about passing away from the dead end of authenticity, in order to ask: if we eliminate the pressure to pass, what delicious and devastating opportunities for transformation might we create” (Sycamore, 19)

Rose Pacult

Rose Pacult reads her most recent poetry collection.

She is the author of Knowing Zasd By His Walk Volumes I-III and the poetry collections Bending (Juste Ici) and Lifter + Lighter (Hausu Mountain).

Bill Porter

Premiere of Bill Porter’s new animation.

Bill Porter (born UK, 1985) currently lives and works in London, UK.

He received a BA from Camberwell College of Arts, University of the Arts London (London, UK) in 2006 and an MA from the Royal College of Art (London, UK) in 2008.

Porter’s films have screened at animation festivals globally, including the Annecy International Animation Film Festival (Annecy, France) in 2011, the Eyeworks Festival of Experimental Animation (Chicago, USA) in 2011, International Festival of Animated Images Animadrid (Madrid, Spain) in 2009, and Anima Mundi 2009, 17th International Animation Festival of Brazil (Belo Horizonte, Brazil) in 2009.

Porter has had a solo exhibition at the Old Sweet Shop (London, UK) in 2008.

He has been included in group exhibitions at the Dreamspace Gallery (London, UK) in 2011, The City Arts & Music Project (the CAMP) (London, UK) in 2010 and The Jago Gallery (London, UK) in 2009.

Jennifer Reeder

Jennifer Reeder (born 1971, Ohio) is an American artist, filmmaker, and screenwriter. Her short film A Million Miles Away (2014) was nominated for a Tiger Award for Short Films at the International Film Festival Rotterdam and screened at the 2015 Sundance Film Festival in the U.S. Short Narrative Films category. In 2003, she had a solo screening at Moderna Museet in Stockholm, Sweden. She received a Rockefeller Grant for New Media in 2002 and a Creative Capital grant in 2015 to support the production of her first experimental feature-length film, As With Knives and Skin.

Reeder attracted notice early in her career for her performance and video work as “White Trash Girl,” a fictional identity through which the artist explored lower-income white culture in the United States.[6] Interviewed by writer and Northwestern University professor Laura Kipnis for the anthology White Trash: Race and Class in America, Reeder said that white trash “describes a certain esthetic, but I think it’s also a socioeconomic situation, and a way of perceiving the world around you and your own place in the world.”  Her more recent films explore the lives of adolescent girls and their use of music, slang, and fashion to express their identities and aspects of their emotional world.[8][9]

Her films have screened at the Whitney Biennial; The New York Video Festival; Kunsthalle Exnergasse in Vienna, Austria; the Gene Siskel Film Center; the Yerba Buena Center for the Arts in San Francisco; P.S.1 Contemporary Art Center; the Wexner Center for the Arts; the Chicago Underground Film Festival; and the 48th International Venice Biennial.

Reeder currently teaches in the School of Art and Art History at the University of Illinois, Chicago and holds the position of Associate Professor Moving Image. She is the founder of the social justice group Tracers Book Club, which focuses on feminist issues. Reeder received an MFA from The School of the Art Institute of Chicago in 1996 and is represented by the Andrew Rafacz Gallery in Chicago, Illinois.

Jeannie Sui Wonders

Jeannie Sui Wonders is filmmaker from Detroit, and is currently living in Los Angeles. She got her BA in History of Art & Architecture from Harvard College. “Scripts” has been screened at the Female Eye Film Festival and the Marfa Film Festival.Dan Stolar

Dan Stolar (USA) reads new fiction. His first book, a collection of short stories called The Middle of the Night (Picador), was an American Booksellers Association Book Sense 76 Pick and a Finalist for the Reform Judaism Prize for Jewish Fiction. His fiction and creative nonfiction have appeared in numerous publications including The Missouri Review, Bomb, Virginia Quarterly Review, DoubleTake, Utne Reader, North American Review, Prism International, Five Chapters, Chicago Tribune and St. Louis Post Dispatch. The Washington Post Book World wrote of Stolar’s stories: Each one of these stories resonates with an elegant simplicity. Psychologically complex and fully realised, they manifest equal parts wisdom and wit.

VOLUME 6, ISSUE 1 Untoward Magazine

what would happen if you were to drown?
Discover here: The Last of What’s Left by Rose Pacult
Thank you Untoward Magazine
and Matt Rowan, editor in chief for always working so hard). Please read — and ENJOY — contributing authors’ work as well; pieces by  Heather Sager, Doug Paul Case, Ben Loory, Justin Carter,  , Betty Scott, and Angela Allen

 

A Child’s Psychedelic Animation booklet

a long time ago I made a spelling error ridden Booklet on psychedelic experience in animation along with whatever else struck my fancy while preparing to teach a class on merleau ponty. I was going through some writing on Terrance McKenna and my disliking of him when I rediscovered this. Laughed a bit and hoped someone might enjoy it..Screen Shot 2016-09-15 at 12.14.51 AM.png

Anna Sui Animation Complete! 

Very, very excited to announce the release of animation for Anna Sui’s new perfume Romantica Exotica, completed by the team of: Anthony Vasconi, An Chin, and myself with producing by Jeannie Wonders and Casey Brooke Levy. All of us are on instagram at @jswonders @caseybrookelevy @teatimechin @tonivasconi and @rosepacult .

We had a wonderful team and did this in exactly seven days. What a process! SEVEN DAYS.

Part of the animation may be seen here:

It involved working around multiple cities whereever we ended up.


Photo: Anthony Vasconi and Rose Pacult in a garage in Downtown Chicago. 2016.


Photo: An Chin slaying away at her incredible design work at Queen House. 2016.

met an idol

after years of enjoying her work i finally met and talked to jen reeder and acted in one of her upcoming films, Signature Movie. I saw how she directs a set (how i hope to do it too now) and it was just inspirational.
watch my favourite freebie online shorts are here: (watch or unfriend)
Seven Songs about Thunder
https://vimeo.com/44055426
And I will Rise Up if Only Hold You Down
https://vimeo.com/38949798

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