Meet Andrew Russell Thomas

1) Please state your name and what you do!
Andrew Russell Thomas. I am an artist and musician depending on who you ask.

Sculpture

2) You have been involved in the Bushwick music scene for quite a few years now, could you please discuss both the positive and negative changes that you have witnessed?
The positive changes are that there are more places to go see (in this hypothetical example) great shows. The negative would be that a lot of the old ones are gone.. Thinking about it now, it seems like just as active of a community as it was when I entered it – thanks largely to the people who have always put an huge effort into having shows.

Installation

3) What you you say to a new Bushwick resident who is trying to get his/her music heard within the community? Advise, warnings…?
If you want to play shows, be good enough to have a demo (available online) that will make a person want to book you. Ideally go out and talk to people in person.. and then see above because people basically hear new music on the internet now..

sound and light sculpture

4) How do you see the Bushwick music scene changing over the next few years?
The Scene will exist exactly as it has since forever, but slowly move east..

5) If you could influence the direction that the Bushwick music scene goes, direct it in a sense, what would you do? What direction would you like to see it going in?
Aesthetic direction, I might say more low-key “official” venues.. As far as a stylistic direction, I wish bebop and would come back. And geographic direction, north into Maspeth.

Meet Alison Sirico!

1) Please state who you are and what you do!
I’m a curator and organizer involved with the Ho_se and the Silent Barn. I run a small non-commercial art gallery inside the Silent Barn called Big Law Country Club that focuses on emerging installation and video artists. 

Chelsea Pfohl

2) How do you think your art gallery effects the Bushwick community?
I’m really excited about showcasing emerging talent, and giving people who haven’t shown at all or often a chance. The Silent Barn is really publicly accessible, so showcasing emerging artists is exciting because its eyes on the work, which I hope spirals into more opportunities for the artists.I have a really wonderful symbiotic relationship with the Silent Barn. The art shows further texturize the music-show goers experience, and the artists get hundreds of eyes on their work which bridge from different communities they might not have been linked to otherwise. (and vise versa)
BLCC’s contribution to the Bushwick arts community is through existing as a completely untraditional kind of gallery.  Because it is such a small and relaxed place, I leave it as an experimental sandbox. I’m most attracted to installation work because its an easy way to feel physically transported into a different realm. Its quick and easy escapism. I love when guests turn the corner and and there’s that moment of wonder – that they didn’t expect that. That feeling is what I want to serve the community.
Raul de Nieves
3) Being a part of Silent Barn, and the Bushwick art community, do you feel you have a certain responsibility? If so what?
I feel like my responsibility is to care, be tasteful, and to help facilitate interesting art, which is easily accessible to the public. The Silent Barn is super community oriented, and we try to open up our doors to a wide variety of talent and guests from multiple parts of the Bushwick community. 
James Moore
4) How do you envision the current Bushwick art scene changing in the new few years?
I anticipate rent will go up and it will be harder for struggling artists to live in it – that there will be less DIY houses, and more legal venues. 

Molly Soda

5) Do you think that that all the residents of Bushwick have a responsibility regarding the future of bushwick?  If so, do you see people owning up to this responsibility?
You can’t move into a community and pretend to be an island. We have certain responsibilities to any environment we inhabit. It’s just about having general respect. I’ve always been big into exploring and supporting local businesses, learning the history of the neighborhood and the personal stories of its occupants, really trying to get to know my neighbors. 

 Pat Spadine

Who Says Words

Stephen Dickman poses a challenge to the various modes that have dominated operatic composition in recent years. Unlike the Serialists, he gives the listener discernible melodies; unlike the Traditionalists, he presents melodies in scales of his own devising; and unlike the Minimalists, he takes seriously the relation of words to music.-New Music
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1) Please state who you are and what you do- (can be abstract, doesn’t need to be what you do as a “job”- for example “truth seeker”)
My name is Stephen Dickman. I am a composer of primarily concert music. String quartets, operas, etc. (NY TIMES REVEIW of OPERA) Listen to some of his music at New World Records
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2) Why do you think humans are here on earth?
We are here to figure out why we are here. But as to “why”, I don’t think we need to introduce that word. Let’s find out what it’s all about. In order to do that we need to investigate the explorer. Become an accurate reporter. Etc.
3) As a human, what do you think our main responsibility is while alive?
To make ourselves as wonderful and wise as we can and help others fulfill themselves.
4) Why do you think things die?
Things die because they began. No way around it.
5) Do you think that death makes life more beautiful?
Being alive means we are going to die. What begins ends. There is no aesthetic or qualitative choice or designation.
6) How do you think one can live in the moment and enjoy every moment? Is that even important?
It’s very important. I think it’s possible. We maybe get glimpses. It would would take a lot of personal work to make that experience more that a glimpse, an unexpected event. We generally take thoughts of the past and future into the present, which is why I think we don’t very often experience what is in front of us.
7) Most belief systems have a lot in common, and exhibit wisdom, however, it is extremely hard, if not impossible, to live every day, every waking moment, according to these belief systems. Yes we should send love to all, and see the beauty in everything, but we get sick, sad, grumpy, hungry, and caught up in everyday life. Is that a bad thing?
We are born, get sick and die. It’s the way things are. What we are given.  It is possible to grow if we have the desire, know how and exert the effort. What else is there to do?
8) If you could reach the future leaders and impregnate them with one thought, what would that be?
Compassion. (forget about yourself)

My name is Angelina Dreem

1) Please briefly state who you are and what you “do”
My name is Angelina Dreem
I’m an artist and weirdo
I bring people together for projects and have fun. I split my time between a romantic relationship with my computer and a cosmic relationship with the whole universe.
angie

 

2) Please describe your new project POWRPLANT

Powrplnt is my answer to a digital divide that I see happening within public society. Powrplnt aims to set up computer labs in areas that may not have access to creative software, computers, and mentors. The goal is to inspire young people, to show them the plethora of creative avenues for artists in the modern age, and to give them hand-on experience with professional software.
Artists are no longer constrained to the paintbrush, there are so many more ways to express oneself through video, digital photography, blogging, 3D rendering, etc but unfortunately, the software and computers are cost prohibitive which is why I decided to create a business model based on opening accessibility to all. 

 

So we are starting our first summer session in Bushwick (the land of dreams) at 1196 Myrtle Avenue in a new space called Stream Gallery. We will operate out of here for 3 months, including showing 3 openings and teaching 8 weeks of free courses to Bushwick youth. 

 

When classes are not in session it will operate as a sliding scale workspace where anyone can become a member and use the facilities.

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3) Living in a world surrounded by technology, how do you think people can embrace the future and reality of this technological world without losing sight of living in the moment loving nature?

I think that this is an important battle that we need to fight to realize. I believe that we are still in the First Generation wave of technology. The next generation of computers, mobile devices etc, will be way more interactive and intuitive. Google glasses are just an experiment in how people will react to technology becoming a part of ourselves. I think that technology is an extension of our humanity and the more we can design it to work with us, versus outside of us, we will see its incorporation into our “natural” environment. I detest using the word “natural” and “unnatural” I think that technology can bring us even closer to nature, which is why POWRPLNT is hosting an aquaponics installation by Verticulture, a Bushwick based startup. The “nature” that we romantisize has been influenced and manipulated by humans over and over again, it is our job to use what we have learned to encourage green space and propogate intelligent design techniques as the creators of our environments.

BLOOD SHOES

 

4) Do you see artists within your art community dealing with death and immortality in such a digital age?

I DONT UNDERSTAND THIS QUESTION
The avatar lives forever..

 

5) Do you think that there is exists a, perhaps subconscious, belief that  in order for one to feel “actualized, real, alive” one needs to be “seen” on a grand scale, (for example have multiple views/likes via instagram, youtube etc)?

I’ve been dealing with this recently as I transition from a more “party girl” aesthetic to a more “take me seriously im starting a non-profit” vibe. I am reminded again and again that as long as you are true to your path and your mission then the attention currency, and its rewards come secondary to seeing the relationships and results that your energy is fostering. I know that my ego gets excited whenever I have a new follower, and that I am constantly seeing who is double tapping my shit… but I have more respect for the artist that continues on their path whether or not the are being validated from their networks. I do think that if you want your message to be heard, the web platforms that are available make it accessible to reach all the people you want to reach, and if what you are saying is worth being heard, with a little effort, you will get there. 
ang

 

6) Do you think social media such as instagram and facebook make people loose sight of true communication and friendship, or that we must redefine communication in light of technological changes?

Communication and friendship are reinforced on these platforms. We communicate at a faster rate and with more people. I have a personality that many of my “friends” haven’t been able to see in real life, but they can feel it! I also know from experience that it makes these friendships stronger, and when we do connect in real life (which we do!) it feels like we can just jump into being present, versus catching up on the past. I am looking forward to holographic meetups! I began texting my dad, which means we say hi more often then the pressure of having a phone conversation. I don’t think we are losing sight of anything, as long as we can remember to be present when presence is available!

 

7) How does it feel to know that your artwork will outlive you?

As an artist, a lover, and a liver, I know that the only way to freeze time is to make art. Art is the only way to take feelings and experiences outside of your human existence and share it with others. I hope that the servers don’t crash and that my tumblr lives on. I hope that internet freedom laws ensure that subversive material is not deleted. I hope that I can be present and share what I know with others, and in young people our ideas can live

Meet Brandon Sines

Brandon Sines is a painter and street artist with no formal art education. Sines grew up in Toronto, Canada, and moved to NYC in 2010, creating his iconic character, Frank Ape, that same year. Frank Apes can be found painted, wheat pasted and stickered throughout NYC and other states Sines’ visits. Frank Ape art has been purchased by people all over the world, including Japan, Germany, Bangkok. Notable collectors include Solange, who owns 4 original Franks pieces and photographer Richard Misrach who owns several original Sines paintings.  Sines continues to  work in New York City.

 

Brandon Sines’ next solo exhibition will be May 3rd 7-10pm, at Specials, a vacated bodega. 195 Ave. C at 12th St, New York.

by-newspaper-boxes

 

1) Being an artist who also uses public outdoor space to showcase your work, how do you deal with the impermanence of the artwork you put up?  Do you think that in order to be a “street artist” you need embrace this impermanence?

I’d say so.  It’s a balance that you have to weigh in your own mind.  For example, if you put something up in a busy intersection many people will see it but it will only last a short amount if time,  versus putting the same piece on a quiet street.  It will probably last longer but fewer eyes will see it.  What’s more important?  Depends on the piece I guess.
7th-st

 

3) Regarding street art, how do you think “repetition” could possibly replace quality? For example, do you think some artist become more obsessed with having their artwork everywhere, instead of the “meaning” or quality of their work?

Well yeah, Shepard Fairey made the whole power of repetition thing big a long time ago. Many people, including myself,  I guess you could say, are still riding that wave.  But it doesn’t matter how many times you repeat something if it sucks.  You’ll just get on people’s nerves after a while so repetition is a powerful tool but will never replace quality… I hope.
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4) What do you think happens to a piece of artwork that is taken from outside, where it is illegally put up, and put into an art gallery?

It’s pretty corny but I guess flattering for that artist.
5) In the past and present one can see different waves and styles of art as forms of communicating political, religious, and social beliefs.  If you were to view art as a form of communication, what do you think your art is saying? Do you think art needs to “say” something at all?

I think my art generally says something like, “the world’s a messed up place, let’s be sweet to each other,”  But it’s open to interpretation.  I don’t think art needs to say something specific but I personally don’t connect with things that are too abstract.

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Meet Arielle Avenia

1) Please state your name and a brief description of the amazing things that you do!

My name is Arielle, I currently have a full time job as a sculpture fabricator and designer for Sean Kenney, who is a fantastic Lego artist.

I have been running the project Aftermath Supplies at the Silent Barn with my friend and co-conspirator Devin Lilly. Aftermath Supplies is a center for recycled art materials– all the items in our “shop” are sourced from donations and salvage.

Arielle

We did that for a year, and now the Aftermath Space is transitioning into a space for sewing and screen printing. We decided that we are not shop keeps and are much more interested in interacting with materials rather than just storing them. We’ll teach some classes, have open studio hours, and provide services for folks using recycled materials.

I can’t wait to print show posters!!! And I’m still excited about diverting usable materials from the waste stream. Anything that is donated to us and is unused will be put out in the Free Shelf outside of the shop instead of selling it. We should be open for creating and commissioning in mid May.

aftermath free shelf

I also do sewing work for Kae Burke, co-owner of House of Yes and main proprietor of Make Fun Studios, when she gets big projects. She’s about to start costuming for a 90’s punk space rock opera, so that will be really fun.

I’m in the process of preparing drawings for two different and somewhat gigantic mural jobs for Paint the Town, started by Nicolina , but that is kind of on the fence.

Currently, I’m part of a group show called “Resonance” at Headscapes, a warehouse in Long Island City at 26-19 Jackson Ave. I helped with the installation in the front room: The Bank of Mutual Interest, it kind of looks like a mix of a botanica and a really nice check cashing place. We practice money magic through gifts of currency, cleansing currency, and “canceling” current. There is fake money on display and work from a few different artists that are studies to be possibly made into “artbacks”- artist made currency. The closing party is on April 27th, everyone should come check it out!

I also just started working at the farmers market in Fort Greene.
So… things are a little insane. PHEW. I’m sure that I’m forgetting a few things, too. I wish sleep was optional!

When… If… I ever have time again, I really enjoy making costumes for special events and have been getting into quilt work (all from recycled materials, obviously!) I love textiles and I’m psyched to get back to my knitting machine to make some crazy sweaters for next winter.

Arielle Avenia New Quilt

2) How do you balance your creative life with the need to sustain yourself monetarily?

I free-lanced for the longest time, never had a job in NYC longer than 4 months. So I realized to pay the bills I had to become really good at being a worker and was doing pretty much any job that was offered to me. I’d save as much money as I could before quitting ’cause the work was shitty or depressing or getting fired because my boss was probably an unpleasant person or maybe the job would just end. A few times that coincided with meeting some great people and getting sucked into working on an amazing thing with them, and going full speed ahead since there was no work to get in the way… that felt great. But now I have a full time job doing fun and creative Lego model building. It’s totally sustainable to my mental health and just a great work environment in general!

Recently, I just took a month an a half to visit Florida to learn some tailoring from my 85 year old grandmother and to experience New Orleans during Mardi Gras. So I guess I’m still doing the same stuff, just have more money to do it with now.

In general I do a lot of things I love and they also happen to pay me, so I feel lucky, but I also worked really hard to get to that place.

3) How does it feel to work within a complex and extremely prolific collective that is Silent Barn?

Sometimes it can be extremely frustrating to make yourself heard among a collection of ~60 people. But it’s also fantastic because there are people who deal with the things that I’m not interested in or capable of facilitating. For example:  booking shows with obscure female screamo bands from the other side of the US, finding someone to reroute the electrical wiring so that we have enough power in our studio, and finding a trash company that will take all of our weird huge art trash. So the collective is really inspiring in that way.  People have taken it upon themselves to care about things like that on a volunteer basis and they do an amazing job! Meanwhile, I’m tinkering around in my little office sorting bags of beads or taping tinsel onto the ceiling ’cause apparently that what I care about.

It’s also second home, I can go there at any hour and there’s gonna be someone that I want to talk to or someone that was hunting me down anyway to fix their pants or whatever. And in general, I’m pretty honored to know all those people and that they like my art enough and trust me enough to give me actual physical real estate there. I’ve met some great people through running Aftermath Supplies the last year and there are always shows that bring new faces around, you never know who will show up.

4) What do you think are some of the negative elements that surround the current Bushwick art community?

Rising real estate prices? Bad or generally mediocre art? Probably lack of spaces to show a variety of art work (spaces dedicated to art rather than music) or curators to facilitate such shows.

But to be honest, I kind of feel like I’m in a bubble with all of my stuff going on- maybe everyone else is too and that’s a negative thing. I think it’s also weird that people move to Bushwick to “be an artist”, you can live wherever you want and make art.

5) Recognizing the evolution of art communities such as the East Village, Dumbo, Chelsea and Williamsburg, how do you foresee Bushwick’s future? Do you see it following a similar path, or creating a path of it’s own?

It seems like there is a formula in place with those other parts of town.. the artists move in where it’s cheap ’cause we’re poor and accidentally make things more things interesting, then all these flip-flop-wearing random want to go where it’s “cool”, the end. And, well, a few months ago there were some vacant lots at the end of my block and now there are these mammoth ugly grey buildings that will add at least 150 people… and that’s one block. Friends are getting evicted, DIY spaces are closing, condos are being built, I don’t know.

Then there is the whole rezoning of big parts of Bushwick to allow for high-rise buildings, which a lot of the community was in a uproar about. I don’t know what else to say- words are powerful and I can only really relate what I’ve seen and not try to speculate but it’s not looking that good. If and when all of Bushwick becomes a Starbucks Disneyland Outfitters, what can you do? Artists have a history of having to move their community and adapt when the prices get too high- we do it well and that part won’t change.

6) With all the publicity that Bushwick is getting, what do you think is being unsaid?

I’m not an expert on this stuff. I think the point has been made by many people that Bushwick is an old neighborhood just like any other place in NYC and people becoming displaces because of gentrification is real. I’m sure some families have been really screwed by the influx of 20-somethings rushing to live here, but on the flip side, I think there are many folks who own buildings and businesses that have greatly benefitted.

7) How do you envision yourself influencing the future?

Through the current efforts and projects and communities and individuals I put stock into at the timebank.

8) How does it feel to know that the artwork you make will outlive you?

Assuming that it does, I guess I feel OK about that. I’ve made a LOT of stuff so it’s pretty possible that after I die there will be some stuff hanging around.

I’ve been less interested in visual objects and more interested in wearable/tactile pieces, installations, temporary art, facilitation/co-ordination/mutual-aid based projects than anything else for the last 4 years. So that way, through working with people I meet, making things to interact and live with and actively enjoy and create memories around, I think that is how my work will outlive me.

REVIEW: A Response to “Peristalsis” at Air Circulation

Written by Conor O’Brien, thelivinggallery.blog[at]gmail[dot]com

"Indeleble," video by Ronald Reyes

“Indeleble,” video by Ronald Reyes

Air Circulation is a recently opened space at 160 Randolph St, which according to the gallery’s website is “a zone of artistic research and play…interested in content, narrative, and experience.” Marcin Ramocki, one of the gallery’s co-owners, explains that the gallery plans to dedicate itself to one specific, yet broadly interpretable, theme each year. Their premiere show, “Peristalsis,” initiates the first of the gallery’s annual themes, which is concerned with “food, nutrition, human digestive biology, and global food politics.”

"Untitled," drawing by Lucia Love

“Untitled,” drawing by Lucia Love

Leftover aioli from Sean Joseph's performance "Experimental Aioli"

Leftover aioli from Sean Joseph’s performance “Experimental Aioli”

Including performances and public participatory events such as a “Conceptual Cake Party,” one of the ways the gallery has dedicated itself to this theme is the construction of a functional kitchen within the space. Ramocki explains the kitchen will have a variety of uses throughout their year long gastronomic exploration, including potentially acting as a stage for food-related performance. The act of placing a kitchen within an art space in itself highlights the performative and ritualistic aspects already inherent in cooking and food preparation. “Peristalsis,” named after the motions of the muscles that propels food down the throat, features work by Mimi Kim, Mia Brownell, Oasa DuVerney, Jude Tallichet, Saeri Kiritani, Sean Joseph, Wojtek Doroszuk, Matt Freedman, Kenneth Tin Kin Hung, Lucia Love, and Ronald Reyes.

"Muffin Corner," sculpture by Jude Tallichet

“Muffin Corner,” sculpture by Jude Tallichet

Eating, like all basic biological functions that reminds of animal nature, has been transformed universally in human culture into ritual and performance, distorted by various convolutions into something separate from the cycles of the earth: growth, harvest, and fertilization. In our society primarily, the act of eating has reached an apex of sterilization where at no point, from consumption to defecation, is it necessary for the average person to slaughter, to reap, to fertilize, or generally to come into direct contact with anything resembling a natural cycle.

"Wedding Cake," sculpture by Matt Freedman

“Wedding Cake,” sculpture by Matt Freedman

It is this state of disconnect that forms notions of material hierarchy: the food product which is immediately useful to us for nutrition and energy is considered higher than the product of the digestive process, which in this state of disconnect has lost its purpose, is thought of as waste and is hidden and flushed away in a ceremony that resembles, not coincidentally, the burial of a corpse. Both “waste” disposals ceremonies symbolize an aversion to the natural cycle, signified by death, which is an affront on and a negation of our conceptions of human identity. It is not surprising, then, that such notions of hierarchy extend into our social structures.

"100 Pounds of Rice," photo Saeri Kiritani

“100 Pounds of Rice,” photo Saeri Kiritani

"100 Pounds of Rice," sculpture by Saeri Kiritani

“100 Pounds of Rice,” sculpture by Saeri Kiritani

Of course these hierarchies are illusions, but they do illustrate how our attitudes towards eating or other biological processes conditions our understanding of social order. The “Peristalsis” exhibit asks the viewer to draw this connection between the biological and the socio-economic, how our attitudes toward our biology, which at times expresses itself as shame or disgust yet not without a childlike interest and curiosity, shapes our identity as a species and is recreated in our social structures.

"When life gives you lemons, burn them," drawing by Oasa DuVerney

“When life gives you lemons, burn them,” drawing by Oasa DuVerney

It is clear that such biological functions are fundamental in shaping society, and are of the utmost concern for those who hold power in it. It has long been understood that in order for a government or power structure to retain control over the general public, it must keep that public fed. This method is much more effective than forceful oppression. A public that is well taken care of, which has all of its basic needs met by a system of power, is not likely to try to revolt against that system on any fundamental level. A well-fed public may wish to change a few superficial aspects of the system that provides for them, but to overturn this system completely would also mean abandoning the sense of security and stability that it provides. Economically, this general public is referred to by the biologically potent term “consumers.” A consumer is ultimately a threat to those who wish to maintain power, because by definition a consumer is someone who perpetually consumes, and is never satiated. This is due to the fact that even if a particular need has been completely satisfied, it opens the door to new desires. An effective system not only feeds its populace in the literal sense, but also provides for the needs and desires that arise once a person has been well-fed, intellectual, political, spiritual, social, and is flexible enough to keep providing for new desires as they impose themselves. The most flexible systems even allows for the transgression of their own laws, in ways that satiate a public’s need to revolt without actually threatening the system. American democracy is an example: the public’s desire for political upheaval is sedated by a steady biannual change in leadership, even though this change leaves the system, at its core, intact. But even the most flexible system cannot continue to account for new desires indefinitely, at some point these perpetually voracious consumers will find their ever-evolving needs are not being satisfied at the same rate they are increasing, leading to revolution.

"The Fast Supper," video by Kenneth Tin Kin Hung

“The Fast Supper,” video by Kenneth Tin Kin Hung

“Peristalsis” explores consumption on all of these levels: how eating/digestion shapes our identity as a species and fosters a sense of community, how learned food habits are perceived as indicators of class or culture, the food industry’s relationship to power structures, and the ceremonial aspects of eating. Sean Joseph’s performance “Experimental Aioli” during which he presents an array of flavored aioli derived from celebrities and public figures including Tina Fey, Bill de Blasio, Biggie Smalls, and others, is a comment on how our consumption of celebrity culture satiates a hunger for entertainment, and the ways celebrities are packaged and marketed to appeal to all facets of the populace. Kenneth Tin Kin Hung’s video “The Fast Supper,” which features the Christ of da Vinci’s painting gorging himself on fast food, is a humorous take on how eating is featured heavily in religious ceremony, and the use of institutional religion in satisfying a broad spiritual hunger.

"Le Saucisson," painting by Mimi Kim

“Le Saucisson,” painting by Mimi Kim

Saeri Kiritani’s sculpture “100 Pounds of Rice” of a begging women constructed from rice, and Ronald Reyes’ 30 sec video loop “Indeleble,” featuring a dancing man dressed as the Chiquita Banana mascot, are both comments on the exploitative practices of the food industry, and a kind of exploitative “digestion” of other cultures. Mia Brownell’s surreal painting “Still Life with Flu” and Wojtek Doroszuk’s video “Festin,” which features a feast table overrun with pests, comment on the phantasmagoric and nightmarish effects of feasting and food excess. Mimi Kim’s painting “La Saucisson,” which depicts a woman wrapped in the same manner as a sausage in a butcher shop display, comments on the relationship between fetish and food culture, as well as the marketing of the female body as consumable object.

"Festin," video by Wojtek Doroszuk

“Festin,” video by Wojtek Doroszuk

The rhythm of the throat mimics the rhythm of the river. Even this far inland, one can sense, as if by magnetism, the thunderous muscles clench around cement and steel, a knocking at the gates, answered with our own silent muscular rhythm. The city inflates like a whale bladder, riverwater pumped into the veins of streets and buildings, released through a hundred thousand gurgling faucets; only to be flushed, this same element that digests continents, into some untrodden mental murk. The sacrifice must always follow, though we stave it off as long as we can. The sacrifice is the rotted god ingested and fed back into the soil: the flowering of new gods. The sacrifice is the blissful horror that succeeds a protracted era of rigid harvest. When it turns its head, its eyes are reflective as seashells, and silent except for a trapped, ancient echo growling like an empty stomach.

"Still Life with Flu," painting by Mia Brownell

“Still Life with Flu,” painting by Mia Brownell

Location:

160 Randolph St.

Hours:

Sundays and by appointment

Contact:

info[at]aircirculation[dot]com