Spring






Todd Mattei is a visual artist and musician residing in Chicago. His visual work (video, video installation, photography) has been screened and exhibited at places like the Milwaukee Art Museum in Milwaukee; the Green Lantern, Nightingale, and Chicago Filmmakers in Chicago; ATA and Berkeley Film Archives in California; and Pittsburgh Filmmakers in Pittsburgh. Todd received his MFA (2005) from the University of Illinois, Chicago, and has since taught film and animation at the University of Illinois and DePaul University. With musical groups Joan of Arc, Male, and Sharks and Seals, and alone as Litesalive, Todd has contributed to almost twenty full length albums and toured the U.S., Japan, and Europe several times over.

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Don’t Shoot the Messenger



Don’t Shoot the Messenger from Anne Elizabeth Moore on Vimeo.




Anne Elizabeth Moore is the author of Unmarketable: Brandalism,
Copyfighting, Mocketing
, and the Erosion of Integrity (The New Press,
2007), and Hey Kidz, Buy This Book: A Radical Primer on Corporate and
Governmental Propaganda
and Artistic Activism for Short People (Soft
Skull, 2004). Co-editor and publisher of now-defunct Punk Planet,
founding editor of the Best American Comics series from Houghton
Mifflin, Moore teaches at the School of the Art Institute of Chicago
when she’s not traveling the globe lecturing on freedom of speech
issues. Recently, Moore mounted two single-person exhibitions of her
conceptual art, has been the subject of two documentary films, and her
work has appeared on the radio program Snap Judgment and in the
Progressive, truthout.org, and the Boston Phoenix.

Collections


The photographic series, Collections, focuses on attempts at connection and our desire to truly know one another. Despite the ultimate impossibility of this, we repeatedly seek to escape the boundaries of our own skin and penetrate realities not our own. Ideas surrounding the search are also integral to this series. The quest ever shifting, we search for each other, for understanding, for answers and when the answers elude us and we can no longer define the quest, we wait. The aggression of the search gives way to the passivity of the queue. This work also highlights an ongoing interest in the dynamic of the individual within the group and the interplay between collective and individual identities. Though we collectively move in a procession through this spectacular show of moments, feelings and thoughts, we stand alone to contemplate it. The idea of being unable to, or to choosing not to see beyond one’s self and that this inability to see also then implies an invisibility is conceptually rich to me.




Lindsay Page is a Canadian interdisciplinary artist working primarily in photography and video installation. She received her MFA from the School of the Art Institute of Chicago in 2006. Her work has been exhibited internationally and has appeared in publications including the New Yorker (2009), Emergence: Contemporary Photography in Canada (2009) Flash Forward (2008) and Camera Austria (Spring 2007). She is the recipient of numerous grants and awards including a 2010 Canada Council for the Arts Visual Artist grant. She lives and works in Toronto.

Rishikesh II



The next day, the train sped across the Deccan plateau heading towards Hyderabad. In the compartment next to me were old soldiers in their 80’s, called freedom fighters by this young man who said he was a politician. His friend, a grandson of one of the soldiers, told me about his home in Warangal.

Do you know why India has remained whole after all of these years? How can we speak different languages and continue to call each other Indian even though we can’t understand each other? My mother, when she went down to the Godavari, near Warangal, to do her ceremonies she called it Ganga. This is why we understand each other. All of our rivers are Ganga.

Every September we take clay sculptures of the god Ganesh down to the water in the Bay Area and return him to his home. At the bottoms of oceans in India there are millions of elephant-headed bodies of half eroded clay left by families over the years. Underneath the foot of the Golden Gate Bridge, ours have begun to crumble.

Amarnath Ravva has performed (as part of the ambient improvisational ensemble Ambient Force 3000) at LACMA, Los Angeles; Machine Project, Los Angeles; and Betalevel, Los Angeles. He has exhibited work at Telic, Los Angeles; Acorn Gallery, Los Angeles; Pond, San Francisco; and Keith & Janet Kellogg University Art Gallery, Cal Poly Pomona. In addition to presenting his work in numerous readings, he has writing online at PennSound, LA-Lit and Drunken Boat #10, and work forthcoming in Encyclopedia vol. 2, and Indivisible: An Anthology of Contemporary South Asian American Poetry.

Rishikesh I




In Rishikesh the sky is split with its own light. From the ghat our flames drift down the river at dusk, stuck in eddies and circling pools, snagged in the tree roots that line the banks. The sadhus robes cover the steps in orange and they sing and clap their hands in unison. Their robes were once white. All around them is the smoke of the pyre.

A month ago at the Triveni Ghats I met Ganesh, the sadhu who said he drew strength from walking by the water at sunset. Around us people were gathering to release their deepums, little flames floating in ghee, down the Ganga. It is here that the river tumbles out of the mountains, clear with patches of green like the Feather River coming out of the canyon near Chico. We saw a man lean down and drink water in the cups of his hands and Ganesh turned to me and said,

See how much faith he has? He thinks it is safe to drink the water because it is holy. I would never drink the water here. I saw wild elephants last summer on the other side amongst the trees. They always drink where the water moves fast enough. So do I.

Once, I had read a story in the newspaper about a herd of wild elephants. Their forest had been chopped down by developers, so they left to live in another one north of Delhi. Years later, the elephants heard the echo of trees falling again. They recognized the yellow bulldozers. But this time, as the developers slept, the elephants dragged all of their equipment and threw it off a nearby cliff.






Amarnath Ravva has performed (as part of the ambient improvisational ensemble Ambient Force 3000) at LACMA, Los Angeles; Machine Project, Los Angeles; and Betalevel, Los Angeles. He has exhibited work at Telic, Los Angeles; Acorn Gallery, Los Angeles; Pond, San Francisco; and Keith & Janet Kellogg University Art Gallery, Cal Poly Pomona. In addition to presenting his work in numerous readings, he has writing online at PennSound, LA-Lit and Drunken Boat #10, and work forthcoming in Encyclopedia vol. 2, and Indivisible: An Anthology of Contemporary South Asian American Poetry.

The Landscape Cracks…

The landscape cracks and I sink into a nameless current – What can I salvage? – I imagine you swimming in a clear blue lake – If only I could move past this
A lecture on biology and plasticity is disrupted by the unconstrained murmuring of the field beneath. The field enacts only itself, and the landscape is still cracking, even in the midst of all the rampant flowering.
Subtext inspired by Lisa Robertson’s “Face.”

Katrina Schaag is a Madison-based performance artist who makes text-, movement-, video-, and installation-based works. Her interests include performativity, artifice, presence, absence, plasticity, queer masochism, and Deleuzian becomings.

youtube.com/kschaa

Pellicle of Collodion





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Fereshteh Toosi is an interdisciplinary artist working in video, sound, performance, and public intervention. Fereshteh received a BA from Oberlin College and worked in Japan for two years before completing her MFA from Carnegie Mellon University’s School of Art. She currently teaches at Columbia College Chicago. You may find samples of her work at