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:
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 .
Ready the Kaleidoscope citizen.
Queen House asks for discourse and blank donations.
Gallery and Tangential Unspace Lab
1542 N Milwaukee Floor 2
The event will begin promptly at 5 pm and will be held in any circumstance.
Installations by An Chin and Katy Dresner.
Readings and Performances and Screenings by everyone else.
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.
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
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: firstname.lastname@example.org
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.
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 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.
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 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).
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 (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. 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.
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.