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A series of 3-D prints / artist’s books / written objects

Singles (2014) is a series of five 3-D acrylic prints with the dimensions of 45 RPM vinyl records, housed in glossy, transparent plastic sleeves. The faux labels feature minimalist couplets printed in reflective opposition. The language lends volume to font and type cases that cite the golden era of Jamaican dub music. The language intrudes or extrudes from the queasy greenish-white “vinyl” itself, and the grooves are replaced by a single, sunken band. An unlimited edition in a series of five, Singles negotiates print culture as skeuomorphic nostalgia for environmental detritus, with the caveat that intellect and sentiment serve as bordering ecosystems for the grand archive that is “the” environment. It is also a critique of contemporary artisanal capitalism.

You will receive a signed copy of the limited edition Daughter when you order the complete set. More information can be found here.

Patrick Durgin is the author of several books, including PQRS. Durgin is also editor of Hannah Weiner’s Open House and The Early and Clairvoyant Journals of Hannah Weiner. He teaches critical theory, literature, and writing at the School of the Art Institute of Chicago. Patrick Durgin @ Pennsound and @ EPC

Forthcoming is an artist’s statement regarding Singles, as one of Durgin’s series of Commentaries for Jacket2, entitled Witness.

An Invitation to Disorder, i.e. an interview with Jean-Marie Gleize, author of Tarnac, a preparatory act, now up at the Bomb Magazine site.

It seems to me that all artistic practice implies a form of retreat—a chosen and provisional solitude, a necessary distance for a right vision of things, to establish the conditions that might favor concentration and reflection. Of course, this retreat and solitude does not imply a rupture with reality, context, and others. On the contrary, it is a modality of our presence. It is for us the real way to face things, to maximize our capacity for intervention, action, and activation.

Rodney Koeneke and Trisha Low reading at Sector 2337

2337 N Milwaukee Avenue, Chicago, Saturday November 8, 2014, 7:00 PM

Rodney Koeneke’s Etruria is just out from Wave Books. Earlier collections include Musee Mechanique (BlazeVOX, 2006) and Rouge State (Pavement Saw, 2003). Recent work can be found in The Brooklyn Rail, Fence, Granta, Gulf Coast, The Nation, and at Harriet, where he was August’s Featured Writer. A longtime resident of the San Francisco Bay Area, he currently lives in Portland, Oregon, where he teaches British and World History.

Trisha Low is committed to wearing a shock collar because she has so many feelings. She is the author of The Compleat Purge (Kenning Editions, 2013). Remote controls are available at Gauss PDF, Against Expression: An Anthology of Conceptual Writing, Troll Thread and others. She lives in New York City.

Sector 2337 is a storefront gallery and bookstore opening this October at 2337 N Milwaukee Avenue. Functioning as Head Quarters for the Green Lantern Press, Sector 2337 will host three exhibitions a year, maintain a vibrant schedule of public programs, as well as a niche on-line bookstore and an in-store bookshelf specializing in contemporary art, poetry, theory, and independent press titles. By marrying these threads — contemporary exhibitions, readings, performances, poetry, and printed matter — we continue the spirit of The Green Lantern Gallery and Press, making community, culture, and discourse easily accessible to Chicago.

Admission is free and the venue is ADA accessible. Sponsored by Kenning Editions, with support from Poets & Writers, Inc.

Naropa is hosting the Dis_embodied Poetics Conference, “Writing, Thinking, Being” this October 10-12, with an outstanding roster including Amber DiPietra and Denise Leto, authors of Waveform.

Says the conference website:

[DIS]EMBODIED POETICS is a 3-day biennial conference that explores intersections between innovative forms of creative and critical writing that are experientially rooted in contemplative practice. We are interested in experiment, activism, performance, the archive, somatic practices, dharma arts, cross-genre, borderlands, the liminal, cross-disciplinary gestures, third-mind collaborations, bricolage, conceptual poetics, the five wisdoms of Maitri, mindful awareness, consciousness, Butoh, biorhythms, neo-benshi, and more.

 

The Believer reviews Pamela Lu’s novel, Ambient Parking Lot:

Pamela Lu targets art movements of the twentieth and twenty-first centuries, gleefully eviscerating avant-garde pieties, cherished literary truths, and pop-cultural bromides alike. And yet, despite these satirical hijinks, Ambient Parking Lot ultimately raises questions that might apply more broadly to those of us who enjoy taking our news and our humor in one fell Colbertian swoop.

You know you’ve arrived when Tyrone Williams describes your work as “magnificent.” Here is Williams on Kyle Schlesinger’s The Pink. What no one knows is how scarce this chapbook soon shall be.

Bomb Magazine features an interview with Trisha Low by Sarah Gerard.

I was looking at Kara Jesella’s blog—I’m an admirer of hers, we were in class together in performance studies, and I had this weird hero worship thing going on—but on her blog, she was talking about this piece by Shulamith Firestone called “Airless Spaces,” which is about experiences in asylums and mental hospitals. And Shulamith writes about the experience in the hospital erasing everything that came before the hospital, and it becomes this continuous loop, where everything starts to lose its specificity but also its precarity, and that kind of feeds back into something I was thinking a couple years ago, in terms of Erving Goffman’s sociological studies of hospitals. He talks about this process he calls “looping,” which is where someone in an institution only has recourse to the language that the institution provides, like it’s a totalizing language. So you have to instrumentalize the institution in a particular way. That’s very relevant to the way Purge was built—and I like to say built, instead of written.

Don’t forget, if you’re in NYC on the 11th, see Trisha read at Housing Works.

Ben Fama’s interview with Trisha Low is here at The Believer Logger. E.g.,

Sometimes I almost feel like Purge is only a prosthetic, a paratext of [Jack Spicer’s] Admonitions, a more synthetic, plastic manifestation of what Spicer accomplished so nimbly. Both of us are interested in this fetishized notion that there is an objective reality, a reality of “feelings” that can be played with. Instead, we try to seduce a reader into sustaining his own fantasy via the work. Think of the femme fatale in a noir whose “cheating husband” is only an excuse for her to make her bid for power. The poem of my “authentic feeling” becomes the toy surface upon which the desires of others are inscribed. I guess the kind of poem I like to make is kind of like a dildo—it blurs the line between prosthetic material and inarticulable sensation, artificial performance and the “real” of libidinal pleasure. It questions subjectivity through its own objecthood.

The Compleat Purge is still available as a bargain bin ménage à trois otherwise known as “subscription.”

Free wine, and you’ll need some as Trisha Low and company read at Housing Works (NYC) in June. The event is sponsored by Emily Books. Details are here. An April reading can be streamed here, care of The Poetry Project.

Meanwhile, Dolores Dorantes has been cordoned off with the other Necropastoralists by Joyelle McSweeney. Reminds me of the time Hannah Weiner was shut up in prose. Patrick Durgin, meanwhile, is giving a talk on May 12th at the University of Chicago, in an attempt to finish the job.

Ballroom Projects and Kenning Editions invite you to a reading with “conceptual” poets imported from NY, especially for the occasion.

Thursday, May 15, 2014 at 7:00 PM. Free admission.

Robert Fitterman is the author of 14 books of poetry including No Wait, Yep. Definitely Still Hate Myself (Ugly Duckling Press, 2014), Rob’s Word Shop (Ugly Duckling Press, forthcoming, 2015), Holocaust Museum (Counterpath, 2013, and Veer [London] 2012), now we are friends (Truck Books, 2010), Rob the Plagiarist (Roof Books, 2009), war, the musical (Subpress, 2006), and Notes On Conceptualisms, co-authored with Vanessa Place (Ugly Duckling Presse, 2009). His long poem Metropolis, has been published in 4 separate volumes. He teaches writing and poetry at New York University and at the Bard College, Milton Avery School of Graduate Studies. His writing can be found at his website: http://homepages.nyu.edu/~rmf1/

Josef Kaplan
is the author of All Nightmare: Introductions, 2011-2012 (Ugly Duckling Presse, 2014), Kill List (Cars Are Real, 2013), and Democracy Is Not for the People (Truck Books, 2012). His recent work has appeared in TROLL THREAD, Gauss PDF, Lana Turner, Rethinking Marxism, The Claudius App, and the Poetic Labor Project. He lives in Queens, New York.

Holly Melgard is the author of the Poems for Baby trilogy (2011), The Making of The Americans (2012), Black Friday (2012), and Reimbursement (2013). She is currently co-editing TROLL THREAD PRESS, co-curating for the Segue Reading Series, & dissertating in the Buffalo Poetics Program.

Joey Yearous-Algozin is a member of TROLL THREAD and the author of The Lazarus Project and Holly Melgard’s Friends and Family. He lives in Buffalo, NY.

http://ballroomprojects.tumblr.com
http://www.kenningeditions.com
3012 S. Archer Avenue, Chicago, IL

This event is not ADA accessible.

Ballroom Projects is located at The Archer Ballroom in Bridgeport, a friendly neighborhood on Chicago’s southside. We are located a block from the Ashland Orange Line stop and near the 9 and 62 busses.

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