The Corpse! Week One

September 23, 2010

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Busy and exciting first weekend for the Corpse Performance Space @ The Green Lantern. First up, on Friday, The Open Secret series. Curated by Brian Wallace and Joni Murphy, the Open Secret is a series of performances and talks and readings involved in investigating ideas of artistic ecology. Recent SAIC MFA’er and Chances maven Ethan A. White gave the first presentation and, as you can see above, had a bit of hard time–he lost his notes and ended up having to dig through his computer all to leave us with the above moment: the embarrassment of the desktop picture. White’s performance began with this simple “mistake” and ended up devolving into a discussion and fight with a cardboard cut-out of himself: how does the artist move from the institution of the MFA to the institution of the gallery and, in tandem, the institution of work? White’s talk/performance suggested the importance of receding from the research-based practice of the classroom to re-think the always and already stereotypically bare, flippant, performative gesture of removing one’s clothes. White’s performance became less about the artistic ecology suggested by the curatorial notes of The Open Secret and instead concentrated on the importance of inward movement.

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Readings of Author’s Not Present followed from yours truly, Malcolm Sutton (who you can see below, laughing through Breton, and Brian, Joni, and an audience member. The first film screening of the Open Secret is this Saturday (Apartment by Marina Roy).

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Saturday night, Marc Riordan showed up with a band of rowdy improvisors for the Now It’s Dark series. Here’s a photo of him introducing everybody:

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I’ve been really excited about this series–improvised scores to experimental movies–and Marc delivered an amazing set of both. He blogged about the experience here and asks pretty much every question I had about the night:

“Is everybody playing in service to the movies? To each other? Or are the movies being screened in service to the music? To the performers? This ambiguity was in part the intent of this first performance, and reflects a central issue in improvised music, and one that comes up less in traditional filmmaking: how do we judge the success of a collaborative piece? The answer, of course, will vary depending on which collaborator you ask.”

I’ve uploaded an excerpt from the night here. It’s the soundtrack for Michelle Harris’ Boat, an amazing still shot of a warehouse on a dock. The light from the warehouse–split into windows–is reflected onto the dark water, reminding me of level meters on a mixing board. As disruptions passed through the scene–a boat, birds, a man driving machinery–these levels distorted and flickered and eventually returned to static nobility. A fascinating piece that the musicians did well with. The next Now It’s Dark happens on October 29th.

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As the performance web site and calendar for the gallery is slowly coming together, I thought for my first blog post I’d give a quick overview of some of the different series and events we’ll be producing this fall.

The Open Secret: Curated by Brian Wallace and Joni Murphy, this series delves into how artists invest themselves in local community while still keeping an eye to the internet and the various new communities cyber-space affords. This series will be a mish-mash of artist talks, performances, and film screenings from those local and distant that’ll be wrapped up into a sassy publication.

Now It’s Dark: Local improvisor/art-music/nice hair dude Marc Riordan curates a series of experimental films with improvised scores other local improvisors. Marc was at the space yesterday telling me and Abby about one of the movies he’ll be showing: Peanut-butter and Robin the Boy-Wonder is all I’m gonna say. David Moré-who’s show of sound portraits is up at the moment-will be lending his singing saw to the movies, and Jeff Kimmel, Jason Roebke, and Brian Labycz will be around too.

Quiet Circle:More improvisation, but rather than facing a screen, the musicians will be arranged throughout the gallery–the better to make subtle noises that investigate spatiality and notions of collaboration at a distance, my dear. Everything I’ve ever seen curator Noé Cuéllar do is smart (pressed suit rather than SAT) and luscious (folds of thick corduroy rather than lip gloss): ten people playing politely in a circle isn’t just an idea he had, it’s his thing.

As Yet Untitled Experimental Movie Night:Co-curator Jesse McClean has been in Venice for the film fest for the last few days, so we’re still working out the title for this one, but it’s gonna be a doozy: three nights of film that investigate the connections between director and audience. 20 minute Van Halen solos? Middle school kids cussing? The entire cast of Hello Dolly recording the entire Harry Smith folk archive set under heavy sedation? One of these things will not be apart of this series. Co-curated with Eric Fleischauer.

As Yet Untitled Established Authors talking to Younger Authors:I really want to call this night Crosstalk! or At the Table! or Around the Coyote! (…) to give it the Sunday morning TV zazz I think it deserves. This night is being curated by Beth Sampson, who’s working on the new School of the Art Institute journal Dear Navigator, and she’s got poets coming out of her ears/flying in from all over, all of whom I can’t talk about yet. Why am I doing so? Because poetry is a passive-aggressive media.

The Parlor also begins tonight with Gina Frangello and continues through December: Atomix regular Adam Levin will be up in October reading from his new book from McSweeney’s and urban-running-womyn Lindsay Hunter reads sideways from her new featherproof book in November.

Posted by Nick Sarno

 

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“Hold the map close to your face. Breathe into it and you will hear a river start.”

 

The Organizational History of The Jejune Institute, as posted on their website. Visit for much, much more information.

 

The origins of the Jejune Institute are in the San Francisco Bay Area, where in 1962 a small academic society first gathered around a common interest in the advancement of socio-re-engineering methods. A cross-disciplinary approach was quickly embraced as students and professors from diverse areas of studies began to associate and compare knowledge: Sociologists, Political Scientists, Biologists, and Psychologists all figured prominently among members of other disciplines. Prominent department faculty were present early on from top campuses including Stanford, UC Berkeley, and the University of San Francisco. Regular bi-weekly meetings soon developed into a monthly lecture series, periodic experimental seminars and an annual conference.

 

Among the broad ranging scope of discussion, a few central topics emerged to the top. Primarily; the problems of expanding interpersonal trust among fellow human subjects, how to increase general spontaneity & creativity across large populations, and how to induce mutation in the geopolitical realm. As eccentric as these topics sound, they were not based upon the bohemian movements popularized in the area at the time. They were firmly based upon solid scientific research and empirical evidence.

 

As the movement grew, a leader emerged. Octavio Coleman, Esquire was a young Professor at Stanford’s Department of Molecular Physiology, recently moved to California from the Netherlands, where he was a head of research at the University of Leiden. He was quickly elected as the acting chair person of the society, and became was renowned for leading engaging and humorous discussions that encouraged participation from every member of the often expansive audience. To many Coleman Esquire was considered the living embodiment of the humanitarian ideals professed by the society.

 

During the 1970’s, under the visionary leadership of Coleman Esquire, the academic society evolved into The Jejune Institute; an international not for profit organization with the funds to support it’s own research facilities and independent programs. Through these programs the Jejune Method was crystalized, and the Institute soon gained the global influence for which it is currently known.

 

During this transitional era, luminaries such as Werner Erhard, Stuart Emory, and L. Ron Hubbard were prominent participants at the Institute. Through working closely with Coleman they eventually went on to spearhead the growing movement of “personal growth” and “self-help”. Though largely uncredited, The Jejune Institute was an integral part of the philosophical breeding grounds of EST, Esalon, and Dianetics, which collectively spawning a thousand like-minded schools or pop psychology.

 

A cultural shift in the organization occurred in the 80’s as the Institute began to develop a series of innovative products aligned with it’s ultimate goal of maximizing human potential. Chief advisors recognized the mission would sooner be accomplished through a corporate entity with a for-profit motive, compared to the former 501c3 structure. Hence, the current incarnation of the organization was established; The Jejune Institute L.L.C.

 

Now in the 21st Century, many of Coleman’s earliest foresights and predictions have materialized. His often outlandish prognosis have all seemed to gain scientific credibility, and it is at this moment that his theories feel most relevant. It is no coincidence then that millions of participants around the world are rigorous disciples of the Jejune Method, and our induction centers now span over all seven continents. To learn more about how these principles relate to you, sign up for a free orientation session at one of our many global induction centers.

posted by Caroline Picard

It’s awesome- we’ve got a great line-up ahead for our Emerging Writer’s Festival on Saturday May 23rd – coincident, as it so happens, with the Pilcrow Lit Fest. Here is the roster–you should come out, it’s free and there’s a BBQ to follow on the back porch.
4:00 pm Sarah Terez Rosenblum  – Where She Is
4:30 pm Jeanie Chung – Cuts and Folds
5:00 pm Peter Anderson – One Son Resists
5:30 – 5:45 BREAK
5: 45 pm J.D.K. Goodman – Another Place, Another Time
6:15 pm Jessie Morrison – The Queens of the Northwest Side
6:45 pm BBQ

Posted and written by

lil elote


Hey y’all.  The Art Chicago and Next art fairs took place last weekend at the Merchandise Mart.  You know what that means…MAKEOVERS!

I wanted to share some pictures from the No-Coast booth at Next, where the makeovers took place, and where B-E-A-U-T-Y WAS BEGOTTEN:


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This group of young kids came by, and the girls dared some of the boys to subject themselves to a makeover.  The boys kept insisting that they weren’t gay, nor did they want to ‘look gay’ after their makeover.  This left me puzzled– What’s gay about beauty? What makes them think I’m gay? Is it because I’m beautiful?  Yup, that must be it.

‘Til next time,

xoxo

lil elote

A Little News

April 20, 2009

Paper & Carriage Nominated for Best New Publication!

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We were excited to receive news in the mail that we were nominated by for Best New Publication by Utne Independent Press Award!

Check out other nominees at Utne.

AWP!!!

February 6, 2009

posted by Caroline Picard

There are some exciting happenings coming up next week-

The Association of Writers & Writing Programs is having a grand old conference in our lowly Chicago town. To that end most of the writers round abouts are up to any number of things–different showcases of talent and promise. The Green Lantern Press is sharing a table with MAKE Magazine (so come find us!) and here too, is a wonderful poster with dates and evening events-

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