All posts tagged: trauma

Intimate Justice: Hyegyeong Choi

“Intimate Justice” looks at the intersection of art and sex and how these actions intertwine to serve as a form of resistance, activism, and dialogue in the Chicago community. For this installment, we talked to Hyegyeong Choi in the summer over the phone about friends with benefits, violence in sex, and to formality in painting.  This interview has been edited for length and clarity.  S. Nicole Lane: You’re new to New York, but can you maybe talk about the city and the community there and if it differs any way from what you experienced? Hyegyeong Choi: Sure. I had such a strong community in Chicago from grad school at SAIC in Chicago. It was like a family environment. I know or see a lot of people whenever I go to openings. When I moved to New York, I only knew a few people here. My best friend, Seth Stolbun, who is also my collector said “It’s the same thing. You will know everyone since it’s a small world like you had in Chicago.” I had a …

Featured image: Maggie Robinson and Allison Sokolowski performing in “I Am” at the Chicago Danztheatre Auditorium, as part of the Body Passages culminating event. Maggie balances with one foot, knee, and hand on the floor, as Allison stands on Maggie’s lower back. The performers hold each other’s left hands and look at each other. Both are barefoot and wear white t-shirts and jeans. Behind them is a well-lit stage, with a string of colorful paper suspended across it. Still from a video by John Borowski.

Body Passages: Culminating Collaborations

This is the fourth and final article in a series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first, second, and third pieces can be found here). These articles provide brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. Launched in 2017, Body Passages is an artist residency and performance series curated and produced by Sara Maslanka (Artistic Director of Chicago Danztheatre Ensemble) and Natasha Mijares (Reading Series Curator of The Chicago Poetry Center; Natasha also writes for Sixty). Trigger warning: The performance “Blood Memory,” discussed below, contains references to sexual assault, including in childhood. During a culminating event featuring groups’ final performances, the Body Passages artists offered the audience sugar cereal, sparkling cider, and glowsticks; invited us to dance with them and record ourselves reading their poetic curations; and asked us to travel back in time with them to New Year’s Eve 1998. Especially appropriate given Body Passages’ collaborative focus and …

Featured image: Udita Upadhyaya at the book release for “nevernotmusic,” at TriTriangle. The artist leans over a table, looking down as she writes in gold pen inside a copy of her book. Next to her is another copy, open to its centerfold, where gold thread is visible. The artist wears a light-colored, textured sweater. Photo by Caleb Neubauer.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the book)

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the third of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (the first and second interviews are online). After the book’s release in September, I met with Udita to reflect on the book, the process of creating it (and personalizing each copy), and the connection between music and grief in her work. Get a copy of the limited edition book by contacting Udita. Find @uditau on Twitter and Instagram. This interview has been edited for length and clarity.   Marya Spont-Lemus: How are you feeling about Saturday’s book release event? Udita Upadhyaya: I’m still processing, but I am feeling good. It was great to see the book in its final form. The book is really beautiful! I have not spent enough time with it yet, but …

Body Passages: Lani T. Montreal and Maxine Patronik on Developing “Blood Memory”

This is the third article in an ongoing series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first and second are online). This series gives brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. In September, I spoke with writer Lani T. Montreal and dancer/choreographer Maxine Patronik about their collaborative process; their resulting piece, “Blood Memory,” about trauma and bodily memory; and their thoughts about artists’ responsibility when presenting work with sensitive themes. This interview has been edited for length and clarity. Lani and Maxine’s final creation – along with those by other Body Passages groups – were performed at a culminating event at the Chicago Danztheatre Ensemble Auditorium on October 12 and 13. Marya Spont-Lemus: It was so cool to get to observe you today at work on “Blood Memory,” your piece-in-progress for Body Passages. So thank you! Before we get into discussing that collaborative piece and your process, I’d love …

This is a photograph of three copies of the book “Brea,” against a light background. Two lie flat in the left side of the frame, front cover and spine visible, and the third is upright, with only the front cover showing. The front cover image is an ink illustration of a young boy in close-up, straight-on, showing his face, chest, and parts of his arms. He wears a long-sleeved shirt and his hands are flipped upside-down over his eyes to form goggles, of sorts, with each thumb and forefinger. Courtesy of the artist.

Beyond the Page: Carlos Matallana

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. In March, I was honored to interview artist and educator Carlos Matallana about the development of his ongoing Manual of Violence project, the process of creating its fictional comic installment “Brea,” and how games, childhood, dreams, and more shape his work. Follow @tropipunk on Instagram and check out his presentation about “Brea” at the Hyde Park Art Center on Saturday, May 26, 2-4pm. This interview has been edited for length and clarity, and includes some spoilers about the book “Brea.” Marya Spont-Lemus: I guess I’d love to start by just hearing how long you’ve been making work in Chicago and what brought you here. Carlos Matallana: Well, I ended up in Chicago because I have old friends here in the city. But initially I moved from Bogotá to New York. I spent a couple of months, not even four months, in New York. I spent all my savings, and I tried …