SOURCE RECURSIONS at The Martin, Chicago Sept 30-Oct 10

David Sundry sculptural installation with Zephyr Dance, Allowances and Occurrences, Stage set, 2012. Photograph: Padgett and Company Inc. Image courtesy the artists.

SOURCE RECURSIONS
THE MARTIN
SEPT. 30 - OCT. 10, 2021
OPENING RECEPTION: OCT. 2, 6-9PM

This September West Town art space The Martin presents artists David Sundry, Michelle Kranicke and Michael Workman for a group exhibition, SOURCE RECURSIONS.

SOURCE RECURSIONS will showcase an exhibition of works drawing from and integrating the visual elements of our essays in the Bridge Journal, Volume 21, N1. Focusing on and deliberating the history of these elements as they relate to specific architectural, dance and movement art histories discussed in the volume, the exhibition will largely center on a presentation of the silverpoint isometric drawings, photographs and the constructed dance set piece structures produced by Sundry for the 2012 dance performance “Allowances & Occurrences” by Zephyr Dance at Defibrillator performance art gallery as historical document. In addition, looped video documentation of that performance will be projected on one wall of the gallery, new interpretations of the source performance by Michelle Kranicke and Zephyr Dance, as well as text art works produced by Michael Workman, including a number of Post-It and Ghost Army works.

::ADDITIONAL PROGRAMMING::
Dates tba

MOVEMENT MATTERS CRITERIA: THE POETICS OF PUBLIC SPACE

Public space has long been susceptible to re-invention by artists and poets in the manner that we Bridge artists are attempting now, but often without deep core commitments to empathy and open deliberation across disciplines in the manner we are proposing as a matter of public space usage.

To kick off the opening night reception, the artists will convene a panel discussion about these criteria with the artists and relevant scholars / thinkers on the poetics of public space, both as defined by the approaches of each artists in the exhibition through architectural space / dance / language and notions of the peripatetic, as defined through traditionalist notions of the flâneur and the flâneuse, the Situationist derive, or more contemporary versions. This may include, for example, the work of Vito Acconci in “Following Piece,” wherein he followed a random stranger every day; Francis Alÿs retracing Jerusalem’s “Green Line” using a dripping paint can; Todd Shalom’s “Elastic City” and its “experiential walking tours given by commissioned artists,” or the beloved Stanley Brouwn’s “This Way Brouwn,” a compilation of maps drawn by passersby of directions to a particular location, as well as many, many, many others.

“RECURRENCES” PERFORMANCE(S)

In addition to the exhibition of the above works, we also propose a re-staging of portions of the original “Allowances & Occurrences” dance performance as part of the opening night’s events by Zephyr Dance and partners. These representations may include new movement phrase work that hints at potential outcomes and directions in an adaptive design process for the dance set pieces as baseline architecture / public space forms as Assembly Zones prototyping solutions.    

INSTRUCTIONAL WALKING TOUR

As part of the exhibition, visitors will be given a scannable QR link to an instructional art audio file they can download or stream that will give a walking tour into the space outside the gallery to a short city walking destination tour. Details tbd.

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DAVID SUNDRY STATEMENT ON THE ORIGINAL DANCE SET PIECES FOR ALLOWANCES & OCCURRENCES

“The set-up occurs within the limited context of a narrow gallery. A constructed landscape incorporating elements of seating, bleachers, stage, gallery display and urban garden serves as a performance arena, as well as an opportunity for increased visibility and viewing options for the audience. This, in turn, positions the audience within the work itself, displayed upon the seating/pedestals. The interchangeability of the audience / performer is further integrated as the two conventionally separate identities struggle for and overlap within the limited ‘working space.’

“The audience, within the context of a durational performance and positioned as part of the work itself in a central and elevated position in the space, survey themselves and their relation to the performer. This is no longer the dark box appended to the invisible plane of the proscenium stage (with the fictive space of performance and the necessary suspension of reality) but an urban engagement of audience and performer in a shared sphere.

“In addition, a 6 foot wide by 12 foot high curved sculptural canopy facing the front of the space was erected as an interactive element that serves as both a projection wall for the piece and a secluded projection/DJ booth above an existing interior room. The curved wall echoes the pressures of the open glass storefront and the gaze of the street and shifts the energies of the space forward to interact with the interior presentations. The director of the space decided to retain the curved canopy as a permanent installation and it has been incorporated in multiple ways in many subsequent time-based performances for the past 2 years.”