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thefranklinoutdoor · 5 years

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Don't You Stop, We Won't Stop

EC Brown Lise Baggesen Rodrigo Lara Zendejas Sarah Beth Woods Felicia Holman

Opening reception: Saturday, February 15 from 7-10 pm

From February 15 to April 25, 2020

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You're getting old, that's what they'll say, but Don't give a damn I'm listening anyway Stop, don't you stop I can't live if you stop Don't you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don't stop Don't you stop We won't stop Don't you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won't give in Stop, we won't stop Don't you stop I can't live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…”

- Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie's annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline.

For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living.

With Edra's prodding, I'm pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity.

EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions.

Since 2005, I have mostly operated in Chicago's domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Interpersonal relationships, intergenerational and intersectional eco- and cyber- and xeno- feminism, reproductive justice, therapeutic aesthetics, color field painting, sci-fi tie-dye, hippie modernism, bio-punk, grunge, glam, and disco, are some of the vernaculars that inform my body of work. Since graduating in 2013 from SAIC's department of Visual and Critical Studies, this organic body has manifested itself in a hybrid and polydisciplinamorous practice, including writing, audio-visual installations, textile-, and sartorial works.

Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active.

Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

break from traditional shape, while presenting an assemblage version of our collective social and political thoughts, concerns, and hopes. Although I was trained in the traditions of classical art, my pieces now are not always clean. Or finished. Or beautiful. My work holds the memory of an intimate process of becoming. In some bodies of work, I present obvious nooks and gashes, broad, quick strokes, and secretive, featherlike fingerprints, all of which aided in the modeling of the clay during the process of bringing the subject to life. It is this visceral and intimate approach to materials and form that drive my subjects of memory and memorialization through all of my works.

When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present.

As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice.

Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

Flatscreen

Sarah Beth Woods

Hear the Glow of Electric Lights is a multifaceted project that centers around a black and white, 16mm reversal film, which investigates the choreographed performances of 1960s American pop music groups featuring girls and young women. During the summer of 2017, Sarah Beth Woods formed The Rhinettes, a conceptual girl group based out of Prosser High School on the West side of Chicago. Referencing the Supreme’s first nationally televised appearance and Cholly Atkins' choreography, the work reveals the inscription of sound on the body and other material surfaces.

Girl group: (L-R) Alexis Strowder, Yahkirah Beard, Anya Jenkins Cinematography: Brian VandenBos Choreography: Courtney Bradshaw Costumes: Ann Heggans, Sarah Beth Woods

Sarah Beth Woods is a Chicago-based multidisciplinary artist. Woods’ background as a painter and critical cultural worker has led to an interest in the aesthetics and political implications of modern surfaces and the body, specifically skin and hair, saturated color and shine. Cultural influences derived from formative years spent on the Southwest side of Chicago continue to manifest in the content and aesthetics of Woods’ work, specifically black material culture and women’s conceptual spaces as sites of possibility and transformation.

Activation

Felicia Holman

"Originally created as a commissioned response to Edra Soto’s 2018 exhibition ‘Open 24 Hours’, interdisciplinary artist Felicia Holman presents a reprise of her solo performance—Wassup w/that ‘YAC?! (WWTY). As both a cognac enthusiast and a native of Chicago’s South Side, Holman unpacks experiential / anecdotal support of the formative research cited in ‘Open24 Hours’. WWTY centers the perspective of a Black Gen X’er cis-female cognac consumer. How do historic/ (pop) cultural/ social/ economic factors impact and influence her consumption of “that smooth brown spirit”? Guided audience participation optional but warmly encouraged (21+ only). Total running time: 45-60 minutes, no intermission.”

Felicia Holman “Lifelong”: Chicagoan/ artist and Prince "fam" Felicia Holman is an independent cultural producer/programmer, as well as a co-founding member of Chicago-based Afrodiasporic feminist creative collective, Honey Pot Performance. Felicia creates, presents, and supports innovative interdisciplinary performance that engages audience and inspires community. Felicia’s artistic & professional practices are both are grounded in critical thought, intersectionality, community building & embodied storytelling. Some of her recent projects and career highlights include:

*Featured artist in Jenn Freeman's "The People's Church of The G.H.E.T.T.O" and the 10th edition of Erin Kilmurray's "The Fly Honey Show”.

*Selected as City Bureau's Fall 2019 Public Newsroom Series Curator.

*Featured presenter at Arts Administrators of Color Network-DMV's 2019 Annual Convening (DC). *Featured artist / facilitator at Flux Factory's "Must They Also Be Gods" group exhibition (NYC).

*Facilitating career development programming for emerging artists.

THE FRANKLIN

Address: 3522 W. Franklin Blvd, Chicago IL 60624 Cell to text: (312)823-3632Hours: Saturdays 2-4pm and by appointment Online: http://thefranklinoutdoor.tumblr.comInstagram: @thefranklinoutdoor

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tobiasreber · 10 years

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centrozoon - WWTY-Tour memories Pt.2 - Erik Emil Eskildsen

[This is the second of two guest posts celebrating the release of the new centrozoon album "The Room of Plenty" by providing some context, stories and memories from where this music originated. While the recent first post by Adrian Benavides focused on the first leg of our tour in November 2011, in this post by Erik Emil Eskildsen recalls his memories travelling with us during the second round of concerts in December. Pictures by added by me.- Tobias] -

The Room of Plenty by centrozoon

I joined centrozoon for 4 concerts in December 2011 during their “We Will Tongue You” tour. I wanted to support the band by helping out with whatever was needed, and taking care of the recording of the concerts. At that time I was still living in Denmark, and had just come out of some difficult times. So when I left I knew spending time with my best friends would definitely be good for me. I traveled to Innsbruck, Austria from Denmark by train, a journey I’ve done several times in my life, to meet up with Markus and spend some time with him before travelling to Bern, Switzerland on the 7th of December, where Bernhard and Tobias would join us for the concert at Headmaster-Ateliers as part of the “Freipass” series of artist presentations.

"Going along well: Erik and Innsbruck" (photo and caption credit: Markus Reuter) I remember being very happy when I arrived to Innsbruck. The cold and refreshing mountain air was good for me. Markus and I had lots of time to talk and catch up. Going out for coffee in town, as we have done so often. When Markus and I drove to Bern, we were met with pretty rough weather conditions on the way. Snow came, lots of it. At the concert in Bern I met Tobias’ mother for the first time, she had brought some amazing local marzipan cakes for us all to take home with us. Those were great cakes!

cz setup in Bern (photo credit: Erik Emil Eskildsen) After the gig, before driving back to Tobias’ place in Biel, I remember that we had a conversation with some local artists, who were in charge of arranging concerts at the venue. I don’t remember a lot from this conversation, except that I felt very exhausted by having talked about things that were mostly irrelevant to what I considered important as an artist. But all in all it also felt great to have a conversation of this type, something that wasn’t really possible for me were I was in Denmark at that time, and I had therefore been missing. On the 8th of December we spent most of the day hanging in Biel, our good friend Mark Butler, who was living and working in Switzerland at that time and had also attended the concert the night before in Bern, joined us and we went out for food at a Kebab place and then had coffee at Starbucks. The food was good, but the coffees were better! ;-) It was really nice to catch up with Mark, not having had that much time to talk the night before. After hanging around town, Mark left and would join us later in Basel. We gathered all things we needed, said goodbye to Biel and were heading to Basel for the concert at the Plattfon record store. As we came to the car, that we had parked a few blocks from Tobias’ place, we realized that the front passenger seat window had been left open all night, with gear and some belongings of ours in the trunk of the car. Luckily enough nothing was missing, and the car hadn’t been touched! This felt really rare, and left a very positive impression of Biel in me. Something like that would not go well in most other cities I know and have lived in.

The Room of Plenty by centrozoon

After setting up and preparing everything for the concert at Plattfon in Basel we had dinner at a restaurant where they had good vegetarian food, which considering that both Tobias and I are vegetarians was very appreciated. One of Tobias’ sisters joined us for dinner, so I met her for the first time there. One very remarkable thing that I remember from the concert at Plattfon, was that the majority of the audience was female, and not only because they were the girlfriends of guys that had come to the concert. They were just there for the music. This is, unfortunately, not the typical thing to occur at an experimental music concert. It felt like it created a different atmosphere. I remember talking with Mark outside the venue after the concert about how real the music had been, comparing experiences we had both had before, that somehow connected to this point, and to the music. I remember that being in the audience at this concert was a powerful experience, and I’m pretty sure it had been like that for Mark too.

cz playing at Plattfon, Basel (photo credit: Simona Reber) After the concert Bernhard, Markus and I drove to Innsbruck, Tobias would join us a few days later. Markus had bought Kate Bush’s new album “50 Words for Snow” at Plattfon, and we listened to that album on the way to Innsbruck. This album sort of became the soundtrack of this whole trip for me. We listened to that album quite a lot during the days in Innsbruck. In Innsbruck Bernhard and I stayed at our friend Herlinde’s place, and on one of those nights we finally had a beer together! Something we had been wanting to do for quite some time. It was really good to spend time with Bernhard. Having good long breakfasts together in the mornings. On the 10th Tobias arrived and we prepared for the concert at the local radio in Innsbruck, Radio Freirad. The concert was live on air in our friend Alexander Spechtenhauser’s radioshow Klangforschung. I remember Tobias and I having fun posting through each others facebook pages, Tobias posting “This is not Erik” as me on mine, and me posting “This is not Tobias” as him on his. It was a great 2 hour show, with two sets.

cz performing live on air at Radio Freirad (photo credit: Erik Emil Eskildsen) On the 11th we drove to Munich, where there would be a house concert at a good friends place. This would be the last concert of the 2011 leg of the “We Will Tongue You” tour. I remember being very tired and overwhelmed that night during the concert. I’m assuming that it was a combination, of having been exposed to such deeply moving music, during the time up to this night, and knowing that the next day I would be returning to Denmark. After the concert we hung out, Markus left for Innsbruck and Bernhard, Tobias, and I stayed overnight at our friend’s place where the house concert had been. We all had trains leaving from Munich Main Station the next day.

centrozoon playing a living room concert in Munich (photo credit: Renée Stieger-Reuter) I remember enjoying breakfast the next morning very much. I took care of the guys and made us some nice coffee. We eventually went together to the train station. Tobias and Bernhard were the first to leave. I still had a bit of time until my train was leaving. I think I had another coffee, as a matter of a fact I most likely did [Editors note: ;-)]. And eventually got on my train, listening to “50 Words for Snow” on repeat for most of the long journey back to Denmark. I don’t remember if actually did snow on the way there, or if it did when I arrived. But somehow the snowfall that came when Markus and I were on the way to Switzerland, was still there with me, covering me like a comforting blanket. - ["The Room of Plenty is available at www.iapetus-store.com.]

#centrozoon #erik emil eskildsen #wwty #50 words for snow #markus reuter #tobias reber #bernhard wöstheinrich #alexander spechtenhauser #klangforschung #freirad

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