(Pardon me, if I’m sentimental)
The very last time I saw my granny alive, I knew this would be the very last time I would see my granny alive.
My paternal grandmother died one week after her 90th birthday in August 1998. She was alive for practically all of the 20th century. She lived to see two world wars, the atom bomb, the moon landing, the cold war, the rise and fall of the Berlin Wall, the Internet.
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On October 2, I previewed Lise Baggesen’s “Mothernism” installation at Ordinary Projects in the Mana Contemporary building (2233 South Throop in Pilsen). We took off our shoes and climbed into the tent that serves as an interactive centerpiece to the exhibition. What follows is an abridged version of our rich conversation about Mothernism the book and the artwork. (Matt Morris)
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.
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.
Chronic Youth @ C-PS
Chronic Youth, New Works By Lise Haller Baggesen Through January 31, 2011
Lise Haller Baggesen’s ‘Chronic Youth’ is a presentation of glittery banners, marker pen graffiti’s, props and theatrical light effects, turning the storefront of CoProsperity Sphere into a silent ‘soda-disco’. Read the rest of this entry »
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