Mothering, Mother’s Day Movements organized by Amina Ross
This Mother’s Day, Amina Ross presents Mothering, a program of performances queering the construction of mothering as an action rather than an assigned and gendered role. Select artists are invited to respond to prompts with ephemeral material and movement to deconstruct the humanity and symbolic significance of the “mother”. This event is largely inspired by the anthology Revolutionary Mothering: Love on the Front Lines edited by Alexis Pauline Gumbs, China Martens and Mai’a Williams. Featured artists include A.J McClenon, Joelle Mercedes, Allen Moore, Zakkiyyah Najeebah, Zach Nicol, Jade Perry, and Aaron White.
Mothering Mother’s Day Movements is presented by Compound Yellow in partnership with Chicago Artists’ Coalition and Terrain Exhibitions as a program of Terrain-HATCH Public Art Curatorial Residency ndf I Am Conscious, I Am Love exhibition curated by Sadie Woods. Space is limited, please RSVP on Facebook or via email to email@example.com
March 5 - March 26: Peripheral Vision-A Chicago Perimeter Ride Project (2015-ongoing), Curtis Locke
Opening Reception: March 5 - 2p
Periphery Ride: March 26, 8:30 - 9a, begins at The Point (Promontory Point) and will last approximately 6-7 hours.
"Here's the three Rs -- Repetition. Repetition. Repetition." -- Mark e. Smith (the Fall)
Is the presence of a bicycle in an art gallery an inevitable Duchampian gesture, or is it sometimes just Freud's cigar? A bicycle without a cyclist is simply a potential ride, while a cyclist without a bicycle is a bi-ped.
"All is in flux, nothing stays still." -- Heraclitus
The Chicago perimeter ride is a fleeting, ephemeral yet concrete street traffic performance staged site-specific on the outskirts and along the city limits of Chicago. The streets serve as a fringe theater where the methodical, methodized actor-cyclist performs his routine. This ritual ride is repeated like a meditation, a prayer, poem, a song.
"Repetition is a form of change." -- Brian Eno
The route is routinized but varies from time to time. This routine act, spinning bicycle and body, tracing boundaries and memories, traverses 90+ miles through Chicago's built environment. There have been 97 performances to date, both clock-wise and counter, encountering 39 of Chicago's 77 community areas and 30 adjacent municipalities, covering over 8,900 miles. During this same span another 10,000+ miles were pedaled outside the parameters of this project. These cyclical edge performances, fluid and mechanical, topographical but not isochronous, are typically six to seven hours in duration. Completing a circuit, I physically echo previous rides while simultaneously feel the invisible pull of (and anxiously anticipate) the next cycle round, looping endless endless.
Peripheral Vision: A Chicago Perimeter Ride Project (2015-ongoing)
March 18: Gone But Not Forgotten
March 18: Gone But Not Forgotten, Rachel Wallis
March 18, 2-4p: Talk with Rachel Wallis
March 22, 6-9p: Sewing Circle with Rachel (rsvp: firstname.lastname@example.org)
**Quilts on display until April 24**
Gone But Not Forgotten is a collaborative quilting project creating a memorial quilt for individuals killed by the Chicago Police Department or while in police custody from 2006 to 2015. In collaboration with the grassroots group We Charge Genocide, artist Rachel Wallis planned and organized a series of peace circles/quilting circles where participants could read the victims’ stories aloud, while creating a hand embroidered quilt in their memory. The circles have provided a safe space where more than 200 people from vastly different neighborhoods and backgrounds could come together and discuss transformative justice, police accountability, and community safety. Together, we created a six panel quilt which stretches nearly 40 feet in length and commemorating the lives of 144 individuals.
Compound Yellow will be exhibiting one of the six finished quilt panels, while hosting public quilting circles creating squares for the seventh, and final panel of the project.
Worldwide Pinhole Photography Day
Worldwide Pinhole Photography Day
Sunday, April 30, 12 - 4p
Space is limited. RSVP to email@example.com to let us know if you are interested.
Compound Yellow celebrates Worldwide Pinhole Photography Day with a workshop that will introduce you to the venerable photographic technique that’s accessible to anyone!
We will be using simple box cameras and black-and-white photo paper to make images unlike any you can get from a digital camera, even with all those fancy Instagram filters! As a participant, you’ll get a camera to work with, all the supplies you need, and help with making your images. After we have made our pictures, we will post everyone’s best at the official Pinhole Day web gallery for the entire world to admire.
The workshop will be led by Simon Cygielski, who has made pinhole photographs on and off for (gasp!) more than a quarter century. Not that you need all that experience to hold a cardboard box. But it seems terribly impressive, so we’ll go with it. The workshop is free, open to participants 14 and up, or younger if they promise not to run around shouting like crazy or to pout uncontrollably. All supplies and equipment will be provided, though participants should feel free to bring their own as well.
No fee, but feel free to contribute the piles of cash you’ll be saving to your local PBS or public radio station.
**Read more about Worldwide Pinhole Photography day at http://pinholeday.org/org
**Head to https://www.flickr.com/groups/pinholers/pool/ to see some of what pinhole photography can do.
April 2 – May 7: Primes - Drawings, Works on Paper, and No-Watt Radio, Dan S. Wang
Opening Reception: April 2, 2-6p / Closing Reception: May 6, 5-8p
Open Hours: Saturdays 1-4 and by appointment (contact firstname.lastname@example.org)
Talk at Compound Yellow, April 23, 4-6p
When Did We Lose? What Did We Lose?: Reflections on the Current Political Culture
Our present political nightmare is a product of many beginnings, each one a loss for the Left, dating back to at least 1980. Some of these were political defeats, the result of failed campaigns—elections, strikes, legislative battles. Some were turning points of longer duration—the loss of ideas, of dreams. For this discussion on a spring afternoon, we hope to review our losses—both specific and general, across time and contexts. Our hope is that we emerge with a clearer view of the score sheet as we gird for the battles spreading before us.
Please join us. The event is designed to be a group production—come ready to help tackle these questions. Philosopher Frederic Neyrat, writer and organizer Lorenza Perelli, and artist Dan Wang will facilitate the conversation.
Frédéric Neyrat is a French philosopher. He works on horror, wonder, politics, and the environmental situation. He tends to believe that we are on the verge of World War III. Website: https://atoposophie.wordpress.com/
Lorenza is an artist, writer and CEO of her family. She published two books on contemporary art in Italy, participated in few shows in Chicago and abroad and is concerned with education, politics and life.
Dan S. Wang entertains himself by writing and making art about economic history, politics and ethno-nationalism. He was born in the USA. Whatever that means.
Gallery X-suburban - No-Watt Radio Tower (99.9 WENO)
The 99.9 WENO transmission tower is a no-tech broadcast system. It is a tetrahedron, just under seven feet tall minus its no-watt antenna, and three feet wide at the base. The power of transmission reaches an exclusively local audience; one really has to be standing within arm’s length to get the broadcast clearly. For the Primes exhibition WENO is broadcasting in English.
Gallery Y - Paper Looks: Selected Works, 2006-
The works in this room were created in the space between more important things. Like paid work and family time. Sometimes there was no space between more important things for months and months. That is never a bad thing.
Gallery Z - 19 in 13 in 1973: Prime Rate Prime Number
This is a suite of drawings that became The Important Thing. For a couple of weeks. It is an associational history of finance, a visualization of one crisis as seen through the materials of another, an upcycling of class aspirational material diverted from the waste stream, and an excuse to hunt for pens.