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Quiet Circle
A group performance between 9 Chicago-based sound artists and experimental musicians performing across the gallery space, diffusing solo and variable interactions between performers and audience. Read more information here.
Performers (as a group): Todd Carter (TV Pow), Noé Cuéllar (Coppice), Andrew Furse (Tiny Music), Joseph Kramer (Coppice, Favors, Duplicates), Joseph Clayton Mills (Haptic, Apiary), Greg O’Drobinak (Chicago Phonography), Andy Ortmann (Panicsville, O/W, Fashion Dictator), Patrick Scott (Locks), and Alex Wing (Dadad).
“What I found especially interesting, as an observer, was how the performers employed a level politeness–what might have been less noticeable had they played together before. Further the restraint that was demanded in the very premise of the performance, to create a “Quiet Circle,” enhanced the level of shared/performative listening that was demanded of each musician. To me, it felt like they were dancing with one another, and even though the oral dance was a result of some salvaged (and almost post-apocolyptic/steam-punk) instruments, the process felt so ritualistic as to remind me of a dance in a Jane Austen novel. In other words, members were poised and gracious and, even, happy.”
–Caroline Picard, Lantern Daily
“Quiet Circle: More improvisation, but rather than facing a screen, the musicians will be arranged throughout the gallery–the better to make subtle noises that investigate spatiality and notions of collaboration at a distance, my dear. Everything I’ve ever seen curator Noé Cuéllar do is smart (pressed suit rather than SAT) and luscious (folds of thick corduroy rather than lip gloss): ten people playing politely in a circle isn’t just an idea he had, it’s his thing.”
–excerpt from The Green Lantern Press season preview
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Sorry Entertainment
Co-curated with Snorre Sjønøst Henriksen.
An evening of performance art solos by Robin Marie, Katie Bateman, Emily Smith, Adam Rose, Marissa Perel, Devin King (featuring Sean O’Connell), and Julia Rich; plus afterparty and dance around the Christmas tree with BorderClinic Crew.
“It didn’t occur to me until after it was underway, actually, how rare it is I see this stuff in a formal (stage-audience) environment. It could’ve been a deliberate shift away from the on-site, casually-framed performances I take to be a present default, but was more likely just the most logical way to present seven wildly-divergent pieces to a large audience in a small space.”
–Zac Whitteburg, trailerpilot.com [full review]
“I don’t think I’ve been to an event like this for 15 years. I’ve spoken before classrooms of interdisciplinary students and talked with them about their work. I’ve been to conferences and hung out with friends, all in the name of some kind of performance, be it theatrical or simply literary, for quite a few years. [Sorry Entertainment] really took me back to the high days of performance art that Chicago enjoyed over a decade (and probably longer) ago. The work was contemporary. But the spirit in the room was an old friend I thought I hadn’t missed. Turns out I did.”
–Kurt Heintz, writer, media artist and publisher of E-Poets Network
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live quiet sounds
An electro-acoustic group performance (and first time collaboration between performers) of quiet sounds surrounding the audience.
Performers (as a group): Chad Clark (field recordings), Noé Cuéllar (subwoofer), Greg O’Drobinak (field recordings & transducing tendrils), Carol Genetti (voice), Paul Giallorenzo (piano), Joseph Kramer (tapes, walkie-talkies, electronics).
“[...] where so many improv shows relish cacophony and aggression, these musicians were confident and strong enough to let moods and sounds develop slowly, their ideas meshing without seeming chaotic in the least.”
–Adam Kivel, Consequence of Sound
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