April 6 – April 27, 2014
Sundays + Mondays, 12-4 pm
Opening Reception: April 6, 4-8 pm
Closing Performance: April 22, 7 pm
New work by Michael Milano, Alyssa Moxley, and Milad MozariI is the next installment in ACRE’s year-long series of exhibitions by 2013 ACRE summer residents.
1913 W 17th Street, Chicago, IL
Curated by Etta Sandry and Jason Judd in conjunction with ACRE Projects.
Rounds brings together collaborative and individual works by Michael Milano, Alyssa Moxley, and Milad Mozari. With backgrounds in a variety of materials and mediums, the three artists come together at meeting points in their work. Approached from these different perspectives, they explore the process of pattern making across visual and sonar planes. Together, they have recorded a collaborative sound work that will be played on multiple record players. Played back at different speeds and distributed throughout the space, the sounds will build on each other through beating and harmonic relationships. Visual works by the artists along with the Harmonograph–created by Moxley and Mozari at the ACRE residency–will reflect this effect of harmonic pattern and interference. The sonic and visual works represent simultaneous undulations throughout the space, creating patterns that are experienced in relationship to one another.
MICHAEL MILANO is an artist living and working in Chicago. He received a MFA from the Fiber and Material Studies department at the School of the Art Institute of Chicago, and a BA in Humanities from Shimer College. He has shown at Roots & Culture, threewalls, Peregrine Program, Adds Donna, and the Ukrainian Institute of Modern Art. He is a member of the artist collective/study/gallery Adds Donna, is published in Surface Design Journal, and is currently included in threewall’s Community Supported Art program.
ALYSSA MOXLEY has created radio and installation art, engineered studio recordings, played music, and written journalism and poetry. In London she was an ethnomusicologist and has recorded bards in several Central Asian countries. She is especially interested in the developments of observation and surveillance technologies because of their dichotic power of expanding both communication and control. These technological extensions of the body permeate the world invisibly, binding humans to each other and the natural world through webs of knowledge, fields of interaction, and clouds of mass communication. The power of sound to bring together multiple people in a community of wordless shared experience is shifted by the combination of live performed sound and recording technologies. Using multiple voices, microphone techniques, field recording, music, sound design, and speaker placement, she plays with memory as both a personal and shared medium. She is currently based in Chicago studying Sound at the School of the Art Institute of Chicago.
MILAD MOZARI‘s work in sculpture, video and performance moves through the complex role of mobile sites and their associated norms and codified behavior. As an immigrant from Iran, growing up in a majority Mormon society in Utah, his interest in understanding cultural contexts is informed by intersecting elements of memory and tradition. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound, and has presented works and lectures in the United States, Ireland, Hong Kong, Taiwan and South Korea. His projects often start with sound experimentations, which then grow into large transitory performances dealing with issues of socio-economic status and gender. Automobiles such as advertisement trucks and taxis are used to explore nomadic music, identity and cultural tradition through performance. These mobile sites extend into metaphors for identity through repetition, dispersion and ornamentation of sound in space. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.
Saturday, November 22, 2–5 pm @ ACRE Projects
Part of Rounds included a performance as a closing event for the exhibition. During the evening, four performers interpreted the work in Rounds through sound performances that varied in form and duration. The performances were layered to create an improvised sonic texture. Performers included: Kendal Babl, Stephen Germana, Etta Sandry, and Peter Speer.
A reading group hosted by Wolfie E. Rawk and their dog Rutabaga. The reading group hung out in the gallery space and discussed five excerpts from the research behind Wolfie’s work in Futile Divide. Hot tea and sweet snacks were served. The reading discussion was followed by a short artist talk.
Click below to read and download PDFs of the texts. Hard copies are also available in the gallery.
The Dreaded Comparision: Human and Animal Slavery – Marjorie Spiegel, 1996