Link to tune in here.
Watch celebrated artist and filmmaker
Stanya Kahn’s newest release No Go Backs
(2020, 33 mins.), shot on Super 16mm
film with an original sound score and no
dialogue. Then join her with Gene Siskel
Film Center’s Director of Public Programs
Amy Beste for a conversation centered on
the themes of care that are explored in our
current exhibition Upkeep. Kahn’s varied and
experimental oeuvre brings emotion and
wry humor to grand themes. No Go Backs
follows two teenagers across the California
landscape, as they seem to negotiate a life
on their own in the wilderness. Proposing
an alternative system of reliance, this poetic
film questions the frameworks of caregiving
and adolescence. Program co-sponsored by
the Siskel Film Center.
Cultural historian Michael Prokopow, who
is preparing a monograph about Hurvin
Anderson, joins the painter in a conversation
that places Anderson’s current exhibition at
The Arts Club in the context of his career.
Along with recent landscapes, Anderson
includes in this exhibition Flat Top, 2008, a
classic painting from the barbershop series
that brought him international attention. By
bringing together these two series, Anderson
contrasts interior and exterior Jamaican
spaces, while defining a through line across his
oeuvre in terms of structure, abstraction, and
perception. Prokopow will draw on his deep
knowledge of the artist to bring forth these
and other threads in Anderson’s thinking and
Exhibition Closing Tours
Upkeep: Everyday Strategies of Care
10-person tours/viewings every half hour from 12 – 3pm
Register via Member Central or the Virtual Salon
Join us on Saturday, March 20th as we celebrate the closing of Upkeep: Everyday Strategies of Care at The Arts Club of Chicago. We will culminate the exhibition with a series of mini gallery tours on each hour, and self-guided exhibition viewing on each half hour.
Space is limited to 10 people per tour, and entry is time-ticketed. Please arrive on time for your half hour block, as each group will have to depart promptly 30 minutes after arrival. All in-person visitors will receive a copy of the exhibition catalog, designed by HOUR studio and featuring essays by curators Janine Mileaf and H. Daly Arnett.
Please honor your reservation, as capacity is limited. Should you find that you have a conflict, please cancel your reservation in a timely manner so that others may attend.
As a safety precaution, we ask that all visitors wear a face mask in the building and receive a contactless temperature check upon entry.
12:00 mini tour – https://www.eventbrite.com/e/
12:30 self-guided viewing – https://www.eventbrite.com/e/
1:00 mini tour – https://www.eventbrite.com/e/
1:30 self-guided viewing – https://www.eventbrite.com/e/
2:00 mini tour – https://www.eventbrite.com/e/
2:30 self-guided viewing – https://www.eventbrite.com/e/
The Arts Club is open by appointment. Please contact us at firstname.lastname@example.org to schedule an appointment.
Tiny Performances in Empty Rooms
Free Live Stream February 26, 2021 at 6:00pm
Link to tune in: https://youtu.be/c3GFnoF48Vg
With The Arts Club of Chicago in a pandemic-induced hibernation during the cold winter months, three polymath artists explore the club’s rooms and think experimentally about how to perform in an empty institution. Musician/composer/improviser Angel Bat Dawid (collaborating with composer/multi-instrumentalist Isaiah Collier), dance-maker/performer/
In Kurt Chiang’s “Livia to the Stage, Please. Livia to the Stage,” a Performer (Livia Chesley), cast in an undefined role and committed to an ambiguous task, needs to get to the stage immediately. An Audience (Chiang), filled to a capacity of 1, waits with middling yet curious anticipation. With urgency Livia navigates all corners of the building’s galleries, salons, backstage corridors and emergency exits. Sounds of doors open-and-shutting fill the empty space. Playfully physical and highlighting the architecture of the Arts Club, “Livia to the Stage” is an ode to the absence of eventful circumstance.
A strange living organism made up of silvery, iridescent flesh investigates its own inquisitiveness and capabilities while stuck in echoing, never-ending rooms made up of kitchen utensils, staircases, mountainous pieces of furniture, and stacks of paper in Jasmine Mendoza’s new work with filmmaker Keaton Fox.
Angel Bat Dawid’s “Sonata for an Empty Room” reflects on the historical form of the sonata as a metaphor for our moment. Each movement a corollary to a frame of mind—the contrasting keys of the Exposition and our polarized political climate, the chaos of the Development and our absence of normalcy, the Recapitulation’s reminder that we do still have a ground beneath our feet–Dawid and multi-instrumentalist Isaiah Collier take the stage in the empty Arts Club’s salon for an exploration of musical consciousness.
Artist and Collaborator Bios:
Angel Bat Dawid is a Black American Composer, Improviser, Clarinetist, Pianist, Vocalist & DJ. In 2018 Angel composed Song of Solomon: A Cosmic Space Opera that was performed by prominent free jazz musicians in Chicago. Her critically acclaimed Album The Oracle, released by Chicago label International Anthem was created entirely alone- performing, overdubbing & mixing all instruments & voices by herself — recorded using only her cell phone in various locations, from London UK to Cape Town RSA. In the fall of 2019, she composed and premiered Requiem for Jazz a 12-part Requiem Mass celebrating the life and death and Jazz at the Hyde Park Jazz Festival in Chicago. Angel tours internationally with her septet Tha Brothahood and released their album LIVE making NPR’s best of 2020 list. She also leads the all-woman trio Sistazz of the Nitty Gritty, and has released the album Message from the DAOUI with electronic artist Oui Ennui as the duo DAOUI. Angel curates a series called Mothership9 at Elastic Arts in Chicago, and hosts a monthly music show on NTS Radio.
Music is a language, you see, a universal language. -Sun Ra
Kurt Chiang is a theatre artist, writer and performer. He is Artistic Director Emeritus & Ensemble of The Neo-Futurist Theater, where he created over 300 2-minute plays for the acclaimed, ever-evolving show, The Infinite Wrench. Over the course of a decade with the company he wrote and directed multiple premieres, produced and curated The Neo-Futurist Kitchen Festival in 2016, and co-created The Arrow, an original performance that subjects personal essays to spontaneous acts of inquiry and disruption (in collaboration with Lily Mooney). Kurt has taught writing & performing locally and nationally at institutions including Abrons Art Center, School of the Art Institute of Chicago, University of Chicago, Theatre Performance Magnet at Lee High in Huntsville, Alabama, and as a bedside teaching artist for hospitalized youth with Snow City Arts. This year, Kurt begins work on his premiere short film Chicka-Dee-Dee-Dee! with support from 3Arts and a crowdfunding campaign on their 3AP platform. He is a 2017 3Arts Make a Wave grantee. Kurt lives in Chicago and originates from Maryland/Washington D.C.
Jasmine Mendoza is a visual and performance artist based in Chicago. She creates and performs multimedia performance incorporating improvisation, sound, film, objects, and theatrical play. Jasmine is fascinated by imagery, time, environment, and the body’s ability to transform and extend beyond its human form when informed by these ideas. She has presented work and performed at the Art Institute of Chicago, Elastic Arts, Links Hall, Comfort Station, Experimental Sound Studio, Chicago Art Department, Contemporary Art Center of New Orleans, Music Box Village, the Lyric Theater, and held residencies at Links Hall, Carrizozo AIR, and the Banff Centre. Frequent collaborators include FORCE! (Anna Martine Whitehead, Jenn Freeman, Zach Nicol), Lia Kohl, Corey Smith, Kioto Aoki, Kim Alpert and Charles Rumback.
Livia Chesley is a performer and writer from the Bay Area, California. Her solo works have explored the magnification of inner worlds through mercurial physicality and have been seen in Berlin, Chicago, Asheville, Vermont, Detroit and Massachusetts. She is currently researching falconry, domestic life, and the economic role of marriage in the Victorian era for a new performance work titled Green in the Leaning Wood. Among her teachers, she thanks Sara Shelton Mann, Elena Demyanenko, Miguel Gutierrez, Hilary Clark, Oguri and Avner Eisenberg for their ongoing influence in her practice. She is currently working with Detroit-based company, The Hinterlands.
Isaiah Collier is a Chicago-based writer, arranger, and composer. An alumnus of the Jazz Institute of Chicago and The Chicago High School for the Performing Arts, Collier has worked and played with Chicago legends such as Willie Pickens, Delores Scott, Ernest Dawkins, Ari Brown, Dee Alexander, Maggie Brown, Robert Irving III, and Charles Heath IV, in addition to national and international artists Rene Marie, James Carter, Chance the Rapper, Stefon Harris, Roy McCurty, Carmen Bradford, Carl Allen, Bennie Maupin, Bobby Broom, Quincy Phillips, Lisa Henry, Wyclef Gordon, Lewis Nash, and the AACM. He has had many mentors, including Antonio Hart, Joan Collaso, Ari Brown, Willie Pickens, Ernest Dawkins, Bennie Maupin, James Perkins, Charles Heath, Bobby Watson, and others. He has played at festivals such as Chicago Jazz Festival, Monterey Jazz Festival, Englewood Jazz Festival, Sons d’hiver Jazz Festival, and International Jazz Day at the White House, and is a former fellow of The Brubeck Institute in Stockton, CA.
Keaton Fox is a Chicago-based multidisciplinary artist, endlessly toying with human perception. Fueled by 21st century fascination and frustrations, Fox collages the natural with the virtual to create visual experiments that playfully investigate the varied realities of our time. Her work has been exhibited nationally, internationally, physically, and digitally.
Fox is currently a Moving Image MFA candidate at the University of Illinois at Chicago. Prior to her return to academia, she was the Assistant Director of the nonprofit art organization and gallery, Boston Cyberarts. Prior to her curatorial work at Cyberarts, Fox worked as the Media and Technology Education Coordinator at the community media center and public access tv station – Cambridge Community Television.