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The installation If We Can’t Play, I Don’t Wanna Be Part Of Your Revolution  was my contribution to Tricia Van Eck’s Bling Bling show –a visual extravaganza conceived as 6018 North’s presence at Expo Chicago 2014.

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10703968_10152258948867665_3184182971308875931_nOne early morning last week –as I was getting ready to go down to Navy Pier to put the finishing touches on my installation for the “Art Prom” that is the third annual installment of Chicago’s own Expo Chicago—I woke up to a picture in my Facebook feed, of Mayor Rahm Emanuel, in full Ziggy Stardust make up.

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Dear,

You really need to make up your mind. Or is it already too late? Has your body already made up your mind? You would almost think so.

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In Norse mythology, Kraka (born Aslaug) stands out as the archetypical “clever peasant girl” who, by orchestrating her stunning looks in cunning ways, gets the kingdom, the wisdom and the glory.

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IMG_2590Peace Out at Terrain in Oak Park for the 4th of July and for the Summer of Love 2014 in honor of the Great American Hippie. Although often ridiculed the hippie is a remainder and reminder of a time the idea of “PEACE in the US” could be entertained as a possibility and not an irony –so how come that in 2014 this notion seems as simultaneously radical and ridiculous as “Anarchy in the UK” did in the 80’s?

We invite you to come out and let your inner hippie hang out at Terrain for a minute or for an afternoon, to entertain the idea that PEACE, LOVE and UNDERSTANDING is a possibility and not an irony. Let it be. Read the rest of this entry »

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On January 21st, Kirsten Leenaars and I had the great pleasure of taking our Boulevard Dreamers Project to the Museum of Contemporary Art in Chicago and transform the museum’s atrium space to a stage and green room.
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At the mini mall where I buy my art supplies, next to Starbucks and Whole Foods, there are two design furniture stores to supply the well to do urban area where we live.

In the window display at Design Within Reach is a Fritz Hansen Egg chair, designed by Arne Jacobsen for the Radisson SAS hotel in Copenhagen in 1958. Originally produced in green wool, the most popular model, like the one it the window, was upholstered in black leather.

A classic.

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… in the fossil fueled states of American gloom and doom, we are headed south on LSD, a donnerwetter looming on the horizon as a tic in the corner of our left eye. Shot-size raindrops splatter against the wind-shield from the sky turning from gunmetal grey to violaceous to petroleum green behind the silhouetted skyscrapers, swaying gently in the balmy November breeze as the wind picks up and a tornado warning tics in on the mobile device, interrupting Kanye West singing:

It’s a beautiful day for jumping out the window/letting everything go/letting everything go…

Indeed it is a beautiful day!

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Artist’s Statement:

The “fakeness” of glam points (like the finger at the mirror ball, its reflection pointing back at itself) to the bigger “fakeness”, the samsara of everything else, yet at the same time to the melancholia of our codependency on this fake old world –hence the true melancholia of true glamour. It’s only Rock’n’Roll, but we like it.

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This Interview by Caroline Picard with Tricia van Eck, John Preus, Sabina Ott, Jane Jane Jerardi and myself was originally published on the blog Bad at Sports. It is reblogged here with her kind permission:

Under the eaves of Navy Pier, four artists install four iterations of domestic space. These spaces — a bedroom, kitchen, living room, and studio — are envisioned expressly as artist domiciles, fittingly embedded in the commercial throng and hype of a contemporary art fair. Fitting, I suggest, because they are interdependent while nevertheless at odds. The aroma, mess and casual experimentation of a kitchen is a far cry from the professional white sea of gallery cubicles. Yet of course they are interconnected; the artist must sleep somewhere, just as he or she must also engage a commercial market. This juxtaposition manifests like a dream; it is hard to know if the domestic space is dreaming that it is in an exposition hall, or if the exposition hall is dreaming that it harbors domesticity. Emphasizing this surreal tension HOME reminds fair-goers of the quotidian world behind the otherwise sharp and prestigious kingdom of commerce. In the following interview I was able to discuss the project with curator Tricia van Eck and its participating artists, Lise Haller Baggesen, Sabina Ott, John Preus and Jane Jerardi.

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