August 15 – September 15 2018 ***
Sara Knox Hunter
A PAPER CRANE
*** NOTE: LANDLINE will be on from 7PM to 1:40AM each day; repeating the text 1000 times.
A PAPER CRANE
1. Fold a piece of square paper on the diagonal, forming a triangle.
2. Fold the triangle in half.
3. Push the duplicate edge of the triangle towards the single edge and form a square.
4. Repeat on the other side, forming another square.
5. Rotate the paper to make a diamond, the closed edge at the top. Fold the two outer edges towards the center to form a kite.
6. Repeat on the other side.
7. Open up the kite by pulling open the two sides and lifting up the bottom to expose the inside.
8. Form a new crease at the top so that the kite shape becomes two triangles.
9. Reverse all the outer creases, and fold the paper inwards.
10. Repeat steps 6-8 on the other side.
11. Fold the outer edges of the kite to the middle crease.
12. Fold the right flap over the left flap, like a paper airplane.
13. Repeat steps 10-11 on the other side.
14. Fold both bottom flaps in the middle so that they touch the top.
15. Fold the right flap over the left on both sides.
16. Fold the wings down.
17. Flip the head down.
18. Give everything a tug outward to breathe life into it.
LANDLINE is an LED sign presenting thought-provoking texts made by contemporary artists, writers, and thinkers. The project is curated by artist Robert Chase Heishman out of the west-facing window of his home/studio in the Pilsen neighborhood of Chicago. A new text + sound (chosen by the contributor) debuts on the 15th of every month. Sound files can be listened to on this website, or by calling +1 312 281 7366.
The alley just north of W. Cullterton St. running East/West between S. Carpenter St. and S. Miller St. in Chicago, Illinois.
(Map to: 1930 S. Miller St., Chicago, IL 60608)
Jinn Bronwen Lee
I want a dyke for president. I want a person with aids for president and I want a fag for vice president and I want someone with no health insurance and I want someone who grew up in a place where the earth is so saturated with toxic waste that they didn't have a choice about getting leukemia. I want a president that had an abortion at sixteen and I want a candidate who isn't the lesser of two evils and I want a president who lost their last lover to aids, who still sees that in their eyes every time they lay down to rest, who held their lover in their arms and knew they were dying. I want a president with no air conditioning, a president who has stood in line at the clinic, at the dmv, at the welfare office and has been unemployed and layed off and sexually harrassed and gaybashed and deported. I want someone who has spent the night in the tombs and had a cross burned on their lawn and survived rape. I want someone who has been in love and been hurt, who respects sex, who has made mistakes and learned from them. I want a Black woman for president. I want someone with bad teeth, someone who has eaten hospital food, someone who crossdresses and has done drugs and been in therapy. I want someone who has committed civil disobedience. And I want to know why this isn't possible. I want to know why we started learning somewhere down the line that a president is always a clown: always a john and never a hooker. Always a boss and never a worker, always a liar, always a thief and never caught.
For more information about Zoe Leonard: https://www.hauserwirth.com/artists/2847-zoe-leonard
June 1 – June 15 2018
Untitled (invitation poem for then & now, (Ansel Adams))
Audio excerpt from the film Ansel Adams, Photographer (1957), written by Nancy Newhall, narrated by Beaumont Newhall, with piano accompaniment by Ansel Adams
Untitled (invitation poem for then & now, (Ansel Adams))
Open snow and glacier scenes
Seascapes and Distant Views
Sporting scenes in snow
Landscape without foreground
Landscapes with light foreground
Wide streets and squares
Landscapes with dark foreground
Figures in the open (edge of a wood)
Buildings and rocks, dark
Persons in shade of trees
Persons near window, in direct sunlight
Narrow streets, light woodlands
Persons in light room, near a window
Light sunny interiors
Persons in light room, far from a window
Light, but shaded interiors
Persons in dim room, near a window
Fairly light rooms
For more information about Jeff Eaton: http://jeffeaton.org/
July 1 – July 15 2018
IN THE LAND OF THE FREE GENITALS AND HOME OF THE BRAVE ORIFICES, YOU’RE EVEN LONELIER THAN YOUR XXX.
YOU CAN’T BOMB OR BABY ME, BABY, BECAUSE I’M JUST A TWISTED WISH INSIDE YOUR LAPTOP, DEFORMING YOUR VIRTUAL SOUL.
GLAZED-EYED AND BRAIN DEAD, YOU DESTROY THE UNIVERSE YET AGAIN, THEN YOU APPEASE YOURSELF MOST EXPERTLY.
YOU CAN’T HELP BUT DIVE INTO ANOTHER DETONATED GASH, FOR IT’S YOUR BLOCKBUSTER, BAPTISM AND NATIONAL PASTTIME.
HERD US TO THE GROUNDS ZERO. LET’S FOLLOW THE HOWLING. STAND ERECT AND SCREAM, SCREAM, SCREAM. WHO CARES IF NO ONE GETS THEIR NUTS BACK.
EVEN IF YOU SEE NOTHING, REPORT YOUR NEIGHBORS, FOR THEY ARE ALL GUILTY, BUT SO ARE YOU, FOR NOT SEEING WHO ARE KILLING YOU ALL.
YOUR HERO QUEST IS A CORKSCREWING ROLLER COASTER RIDE THROUGH AN OVERFLOWING MORGUE.
WADING THROUGH FOUL, SACRED ENTRAILS, YOU SMIRKINGLY SWALLOW CURSES YOU CAN’T UNDERSTAND.
For more information about Linh Dinh: http://linhdinhphotos.blogspot.com/ + https://www.dispatchespoetrywars.com/dispatches/landline-july-1-july-15-by-linh-dinh-link/
July 15 – August 01 2018
Matthew Edward Martin
Audio excerpted from a recording by Dr. Bernie Krause (https://www.youtube.com/watch?v=b5uzpLXrQx0)
In 1965, I traveled to the moon with Stanley Kubrick to begin filming 2001: A Space Odyssey. We had disagreed about how the monolith should be represented in the film, and that argument grew more and more heated after we arrived.
In retrospect, I don’t believe our ideas were mutually exclusive, but at the time, we had each convinced ourselves of our own idea’s superiority. Our exchanges became vitriolic. Some blamed the exhaustive production schedule and the demands of Kubrick’s relationship with Arthur C. Clarke, but having spent years thinking it over in my head, there was something else at work…perhaps the earth hung low in the sky like a yellow skull.
Despite our growing resentment, I was appalled to find that Kubrick had begun construction on his idea in secret: an enormous, obsidian tetrahedron, similar to the monolith described in Clarke’s The Sentinel. It was clear that he had never had any intention on doing anything else. One course of action remained to me now: sabotage.
That night, I went to the warehouse where the tetrahedron was being built and damaged the pneumatic winch that held the rigging in place. With its weight now unsupported, the top-most point of the tetrahedron buckled and tore away from the rest of the structure, irreversibly crippling his monolith.
Kubrick’s revenge was swift and poetic—he would damage me just as I had damaged his monolith. While I slept, he snuck into my room and sliced off most of my nose, the most tetrahedron-shaped part of me. I was rushed back to Earth, where I was fitted with a metal prosthetic, leaving Kubrick, and my original nose, on the moon.
For more information about Matthew Edward Martin: www.acrylicsuperhero.com