June 7-10, 2018
Chicago Surrealism from Object to Activism
Exhibitions, Film, History, Theory,
Manifestoes, Theater, Poetry, & Music …
at Various Locations in Chicago
Why Now? Why Not?
Celebrating the 1968
Chicago Surrealist Protest
Show at 50 years!
Thursday, June7, 2018
Cochrane-Woods Art Center at 5540 S. Greenwood Avenue
Introduced and organized by Janine Mileaf (Arts Club of Chicago) and Jennifer Cohen (University of Chicago)
- Michael Richardson (International Encyclopedia of Surrealism);
- Kristoffer Nohenden (Surrealism, Cinema and the Search for a New Myth); Abigail Susik (Radical Dreams: Surrealism and Counter Culture);
- Michael Stone-Richards (The Wreck of Art: Studies in the Thought of Guy Debord)
- Moderated by Jennifer Wild (University of Chicago)
1pm: Tour of Smart Gallery
Bill Brown (University of Chicago), Ali Gass (Smart Gallery),
Christine Mehring (University Of Chicago)
3pm: Roundtable ( From the folks who brought you “Make Love, Not War!”)
Cochrane-Woods Art Center at 5540 S. Greenwood Avenue
- Penelope Rosemont (Surrealist Women: An International Anthology)
- Ron Sakolsky (Surrealist Subversions: Rants, Writings & Images by the Surrealist Movement in the United States)
- Myrna Bell Rochester (René Crevel: le Pays des miroirs absolus)
- Winston Smith (All Riot on the Western Front)
- V. Vale (Pranks! Re/Search)
- Moderated by Rebecca Zorach (The Passionate Triangle)
Friday, June 8
6pm: The Arts Club of Chicago at 201 East Ontario Street
Surrealist Salon: Mad poetry by Ron Sakolsky & Penelope Rosemont & Extraordinary Improv by the Neo-Futurists
Saturday, June 9
6pm: The Study Chicago at 1837 West Fulton Street
Film: Marian Wallace, V. Vale, Tom Palazzolo
Music: Andy Alper, U Can Unlearn Guitar Band
Steve Smith & End Result Band
With the Participation or works of
Paul Garon, Beth Garon, Dennis Cunningham, Gale Ahrens, Franklin Rosemont, Rikki, Tamara Smith, Joel Williams, Ruti, Robert Green, Schlecter Duvall, Winston Smith, Joseph Jablonski & many more.
University of Chicago | Arts Club of Chicago | The Smart Gallery
The Study Chicago on Fulton
Revolutionary Imagination: Chicago Surrealism from Object to Activism is part of Art Design Chicago, an initiative of the Terra Foundation for American Art exploring Chicago’s art and design legacy, with presenting partner The Richard H. Driehaus Foundation.
Fresh Dirt, the deep South’s newest artistic collective researching practicing Surrealism in the 21st Century, will host an exhibition & creative soire’ in May! The collective is an offspring of previous incarnations, it’s member’s having originated activities as early as 1974 in Tuscaloosa, infamously known as Raudelunas, out of which birthed the first Birmingham group, Glass Veal and free improvisation pioneers of TransMuseq.
As the artists groups continued, the group has reorganized in 2017 as Fresh Dirt and is actively pursuing to connect artists who are practicing surrealist methods, conceptual theories, and influences in the 21st century. Fresh Dirt is drawing together from the core group to artists in neighboring communities the first Alabama Surrealist Sympatica, an Exhibition and Creative Soire‘ to be hosted by Art Town at Eastlake Station.
Along with the visual exhibition of artworks, there will be Surrealist inspired performances by the South’s most potent improvisers in multi-disciplinary exploration involving dance, music, butoh, poetry, and community collective art projects in writing and drawing, and mixed-media.
Artists are coming from as far as Virginia, North Carolina, Tennessee and Georgia to collaborate and participate in the Fresh Dirt event. Many local artists are involved and participating in the Soire.’ The Alabama Surrealist Sympatica, an Exhibition and Creative Soire‘ will be attended by art historian, Steven Harris, University of Alberta, Canada who is writing a comprehensive history documenting Surrealism in the South (Alabama). The public is invited to experience Fresh Dirt, and participate in a Salon style evening of living art, imagination, discourse, and practicing methods of Surrealist Inquiry.
The reception will feature inedible food.
LaDonna Smith: As I step on a mass of meat on the sidewalk, it sucks me right into it, like quicksand! I struggle to break through only to be seriously sinking. Before I know it, I am like treading water, but it is really wine! I am getting a little tipsy from the bouquet, and certainly a few accidental gulps. Delirium consumes me. I wake up laughing at my now pink clothing, and join the circus of fashion, but the runway becomes another fine slab of red meat. Exercise repeated. I credit my predilection to red wine on the sudden appearance of meat and my inability to escape its inevitable hold on me. I manage its avoidance by unforeseen appearance of nut crackers and indulgence in blue beer! Life is marvelous!
Richard Smiley: It is a boon. I pick up the pulsating mass of meat and eat it raw, because that is how I and the citizens of this city receive their sustenance: from the masses of meat that randomly fall from the sky only along this one street.
Tim White: I cry with joy and recognition. The meat is my soul. I pick it up, open my shirt, and shove it back into the hole where it belongs.
Tori Lion: It turns out that the fleshly lump is the beginning of a long, slimy esophagus that latches onto my foot, slurps up my entire body, and then deposits (or, perhaps, defecates) me in a labyrinth of pretzel-shaped catacombs lying underneath Toronto.
Brett Petersen: The mass of meat splinters into an army of teratoma soldiers and they jump into everybody’s mouths and convert their cells into cancerous matter. Before long, the whole world becomes cancer and in fact, planet earth itself becomes one giant teratoma.
A Green Ceramic Creature signed “Sharon MacDonald, H., 1914”
This object seems very good for what it is. On the one hand it is clearly dog, but on the other, it isn’t at all. It is quite smooth and green. When I first glanced it, I assumed it was something more particular. My brain must have filled in the gaps, for unlike most objects, the more I looked at it and handled it, the less I understood what it was, and the more general it became. Perhaps we can tentatively term such rare things as this as Universalizing Objects. Something like a thing, but then it seems to drift from the specific into the ideal. Nonetheless, it tastefully freezes itself before it quite reaches the stage of intellect, and remains matter. There is nothing more cliché these days than a mere “imaginary object”, and so I am glad this thing stuck it out in the concrete. On the bottom it is dated 1914. A harbinger of war? I like its colour. We can only hope there will be more of them forthcoming. Will there be? Time will tell.
A Leaky Amulet
Price: Found on the street
This is a medium-range generalizing entity that won’t set you back too much and that will get the job done. Its peculiarity lies in its general bottle shape. Nonetheless, it is a two-dimensional bottle, and most strikingly, has a series of irregular cut outs in its body, reminding one of either geological extraction of fossils or a very abstract game of “Operation”. It certainly grabs the attention of passerby, but you’d be surprised how many people won’t even stop to pick up a shiny gold object when others are watching. The more one considers it, the more one wavers between choosing: is it a functional frame, or an apotropaic amulet? Metallic-gold seems to be the only option available, although some wear along the edges suggest another colour could be drawn out of it if you aren’t afraid of customizing your universalizing object. Is it handsome? Not really. Does it remind you of an eye or a hand? No, perhaps a microbe or a molecule at best. Nonetheless, for what it promises, it certainly delivers. Worth picking up if you get the chance.
An Empty Location Device
If you don’t already have one, you definitely need to get yourself one of these. In the technological world we live in there are few things which capture the spirit of concrete obsolescence so eloquently and yet are so relatively ubiquitous in junk shops (for the moment, at any rate). The basic mechanism is to select a letter with the golden pointer, and then press the lever. The object will spring open to an empty black zone, revealing ever the same text: PENCILIST, Model “E”, General Binding Corporation etc. etc. (One is especially struck by the idea of a General Binding Corporation, which speaks to a Hegelian progression, but also of the “general binding agent”, in an alchemical sense). Perhaps once it contained names, addresses, secret poems, dream accounts. Certainly it contained area codes and “bates” (The Bates Motel? Or is there some elision in ‘bates?). The most striking feature of this model, missing both its dividers and its pages, is the ability to experience the (shall we say quantum?) differences of so many possible realities—from A to Z, as it were—and yet experience no qualitative change in result. Yet. The mechanism of shutting and opening the lid, hilarious little coffin of the office, leaves a wavering gap in the certainty of the operator. Who knows if certain occult combinations of letters chosen might one day result in the appearance, on the inside, of something else?
It’s worth announcing two new French books for 2018 (and that will shortly be available in Québec):
To start, the first ever reprint of surrealist poet Pierre Peuchmaurd’s Plus Vivants Que Jamais, (with an introduction by Joël Gayraud) published when he was 20 years old shortly after May ’68:
“Just between two cobblestones passed from one hand to another, amid the swirling of our sweat, we come to understand that what we are doing is serious, that this night is unparalleled, that we have not really lived until now, that we hold the dream between our fingers: it is cubic and gray, it is red and black, it has the necessary weight, it is reality. And it is true, this night, that we have remade the Commune. It’s to the commune that all of our thoughts turn.”
And we should of course mention the new book of aphorisms from Joël Gayraud himself, La Paupière auriculaire:
“Harassed by the noise and cacophony of the media, contemporary man is threatened with mental and emotional deafness. He has the greatest need to interpose a protective eyelid between his ear and the deluge of information that assails him. Only then can he filter what makes sense and deserves to be considered. Practicing this selective listening, the author questions, in the form of fragments ranging from aphorism to small essay, all that, one day at a time, solicits his vigilance or his reverie: among other topics addressed are the meaning of the myth, utopian projection, the passion of love, our relationship to animals and nature, the status of the object, language and the book, artistic expression, from Corot to Street art, from Kafka to Rimbaud , not without some philological and philosophical excursus on the side of Spinoza, Leopardi and Levinas. An ironic and critical drift that targets the increasingly numerous impostures on the market and exalts the opportunities for wonder that unfold in the interstices of a life led under the sign of poetry.”
Joël will be presenting both books on May 5th at the André Breton house in Saint-Cirq La Popie.