posted by Caroline Picard

I found myself procrastinating on the composition of this press release. And yet only yesterday did I recognize the procrastination as such.

Indeed, we’ve made a good long go of it–for four years the Green Lantern has been up and running. While I look forward to it’s 2010 incarnation, I nevertheless think it’s important a) to reflect on what it has done thus far, what it has been and b) mark this point in time. Because after all, apartment galleries open and close and there will be new ones to replace the old and Chicago has an incredible vitality, what I can’t help but attribute the community in which we are all seated. Everyone a torch bearer.

To that point, on Saturday, June 13th, the final day of Jenny Walter’s solo show “In Lieu of Gifts” the Green Lantern will open its doors at 3 pm. We will have two (very small) open grills in the back (bring food if you want to cook it), and a keg.

At 5pm Terri Griffith will read from her forthcoming novel “So Much Better” (Fall 2009, Green Lantern Press);

at 6:30 pm we will read some passages from “The North Georgia Gazette” (Sept. 2009, Green Lantern Press).

Thereafter there will be much milling around, laughing, tet-a-tets, perhaps a few misty eyes and wistful glances and certainly a robust exubernace.


will be encouraged over the course of the day

At 9pm the live music performances will start (not in this order). This portion of the evening is BYOB. Those that stay will be encouraged to donate $5.

Casual Encounters


I Kong Cult

Young Joon Kwok and Rachel Shine will release thier limited edition zine, with silk screen covers, “It’s Your Turn,” in which various letters, essays and comments about Chicago’s DIY Art Community will be published. These will be available for a small dollar fee.

posted by caroline picard

hey check it out! Newcity’s Danny Orendorff wrote a great article discussing the Jinks piece that’s up at the moment. For any of you who haven’t seen it and want to (it’s well worth it) we’re having an artist talk screening on the 28th of February at 2pm. Otherwise you can always email: to make a reservation.

Portrait of the Artist: Mathew Paul Jinks

The year 1950 saw India signing into effect a new constitution, officially marking the nation as a republic free from British rule. One year later, Ealing Studios, England’s oldest film-production company, released the film “The Man in the White Suit,” a satire starring Alec Guinness as a befuddled, good-natured scientist whose invention of a glowing white fabric that cannot deteriorate or stain is meant as an altruistic gesture towards the common man. Yet, the material threatens to undo the entire textile industry and is instead met with hostility and alarm, particularly by labor unions.

India’s independence and the release of the film, two events (one historic and the other quite banal) at first seem mutually exclusive. Yet, for English artist Mathew Paul Jinks, who generations later now works and lives in Chicago, there is something of a post-colonial parable betwixt the two—particularly considering that India is today one of the greatest exporters of textiles, an industry employing millions and millions of people, and fraught with tricky, trans-national power relations.

…to read the rest of the article, see some images and video go here.

THE QUEEN’S TAILOR: February 14th – March 14th 2009

w/ an opening reception on February 14th from 7-10pm & a closing reception on March 14th from 6-10 pm.

Mathew Paul Jinks is an English artist based in Chicago. His work explores the shifting structures of belief, memory and loss. In all his work Mathew performs the role of conduit and compass, seeking and translating the unstable, internal spaces of memory to the similarly imperfect space of the physical world, and back again.

Jinks works in sculpture, sound, video and performance. In his new video work for Green Lantern, he re-enacts scenes from the Ealing Studio’s film The Man In The White Suit. The misplaced aspirations of an eccentric English inventor are played out in a context shifted from postcolonial 1950s England to Chicago’s contemporary Indian/Pakistani community, exploring the displacements and potentials of a hybrid, rewritten Diaspora in Chicago.

The politics of power and labor that are at play in the original are transposed into the roles of the Witness, Sage, and Enactor within this contemporary re-imagining. Core themes of blind altruism and the reactionary suppression of radical invention alongside a current space of postcolonial fantasy are supplanted from England to Chicago. Mathew combines the shifting roles of national identity with his own English autobiography to explore the construction of nationhood and the self.