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Nike SuperRep: A new training Icon.

SUPERREP.

Rep. Sweat. Repeat.

SuperRep is the first of its kind, a training shoe that has been specifically designed for HIIT classes, circuit training and boot camp:the-one-fits-all for any high intensity training.

Want to find out what all the SuperRep fuss is about? Looking for a new, one-does-all training shoe? SuperRep is fast becoming a gym favourite- regardless of your fitness level. So whether you’re a fitness fanatic or just beginning your own fitness journey, SuperRep has got you fam.

Each component of the design of the shoe has been carefully considered to give you the maximum benefit across a variety of different circuits. The SuperRep’s features offer maximum cushioning, multi-directional movement and stopping power.

WHO IS SUPERREP FOR?

Don’t be intimidated by the stealthy design and #fitfam following. SuperRep is the perfect training shoe to consider for any training class. Each feature of the shoe has been carefully designed and considered for plethora of different classes. This “one-does-all” approach means you don’t need 3 specialized trainers for 3 different workout routines. Whether you’re new to the gym or a regular looking for something that gives you better support with maximum energy return- SuperRep is a style that transcends your fitness ability.

WHAT IS SUPERREP USED FOR?

Nike have outdone themselves with their latest release. We predict that not only with SuperRep reach the iconic status of the Metcon but will supersede it as the most popular Nike training shoe. Thanks in part to its innate versatility. Studies show that followers of high-intensity classes wear footwear that has either stability or cushioning- not both. SuperRep is the first of its kind to encapsulate both of these features.

The deliberate and carefully constructed deign of SuperRep means its can be used across a number of different high intensity training classes. It can even be used for short runs. Although it was built with HIIT classes in mind, you can use SuperRep across a variety of high intensity classes including Interval Training, HIIT Training and Tabata Training.

WHAT TYPES OF EXERCISE CAN I USE SUPERREP FOR?

SuperRep can be used across a plethora of different exercises, here’s a list of just some of the exercises SuperRep can be utilized for.

Burpees

All lunge positions

Squats

Lateral Slides

Kickboxing

Mountain Climbers

Medicine Ball work

Planks

Deadlifts

Kettlebell work

Jumping/Skipping

Weights

Short Runs

Floor work

Zumba classes (yes really!)

WHAT ARE THE FEATURES OF SUPERREP?

You’ve read what SuperRep can be used for, but how does SuperRep do it? What is it about this particular training shape that makes it so versatile?

Well, the devil is in the detail.

The futuristic design not only looks cool, but is carefully considered to give maximum benefit across cushioning, stopping power, flexibility, and stability. See how Nike have incorporated the tech to deliver a multi-faceted trainer to ensure you can Train like a Boss.

The main construction features include the split sole with a complementing wide, stable heel and arc supports on the side of trainer. The ribbed upper is made from breathable mesh that’s both supportive and durable.

The tongue is made from a soft, neoprene-like fabric that wraps around the sides to the back heel. The elasticated trim is stretchy and has no hard stitching- this means no rubbing or tightness that distracts you when you’re training like a boss.

Better still, the flexible slip-on design means you don’t need to mess around with laces or worry about them coming undone mid-training. There’s even a handy heel tab loop to get in off and on in double-quick time.

BOUNCE THAT COUNTS

It goes without saying that the comfort and technology that we expect to see from Nike are safely encompassed in the unique design. See the enclosed Air unit compartment underneath the arcs? This houses the Air Zoom units. The Nike Air Zoom unit has been split into two compartments in the forefront area. These act like a spring, giving you maximum energy return and shock absorption. The heel also features lightweight and responsive foam cushioning that supports the body during lifts and high-intensity reps.

STOPPING POWER

The arc design on the sides of the shoe offer serious stopping power when you’re engaging in multi-directional movements like side lunges or skaters. The arcs act like a brake pad to absorb impact and give you the maximum range of movement available along serious stability. The multi-directional grooves on the bottom of the sole offer a broad range of resistance. The ribbed mesh upper holds the foot even more secure and snug- perfect for lateral bounds or lunges!

FLEXIBILITY

What’s the split sole all about? The unique ‘break’ in the sole that sits just under the foot arch has been deliberately designed to let your foot bend. This ‘Burpee Break’ sits right where the foot naturally bends to deliver maximum freedom of movement. Whether driving into those mountain climbers or holding a stable plank, SuperRep will flex and hold with your every movement.

STABILITY

Along with the unique Arc support on the SuperRep; Nike have cleverly engineered a secure plate that runs the length of the shoe to offer stability to the entire foot throughout your routine. This evenly distributes pressure back onto the Air Zoom units to activate the responsive cushioning.

Now, you know you’ve got your workout trainers sorted, but what about your workout gear? Not sure if you have the correct clothes for your routine?

Check out our extensive range of men and women’s gym training gear below;

SHOP MEN’S TECH TO TRAIN

SHOP WOMEN’S TECH TO TRAIN

WOMEN’S TRAINING LEGGINGS

Not forgetting our runners, check out clothes are have specifically been designed for your Couch-to-5ks, your grin-and-bear-it runs and your marathons.

SHOP MEN’S RUNNING

SHOP WOMEN’S RUNNING

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A Timeline of the Adidas Predator

The Adidas Predator is a boot that transcends generations. With each iteration of this iconic boot, a new generation can feel a part of the legacy. This boot has been at the epicentre of football since its launch in 1994. Predator has led many footballing greats to victory, turning players into icons. As fans these icons have become the ones we love to watch, the ones we mimicked as a child and reminisce about as time goes on. These players fuelled the obsession, the passion, the love of the game. They brought fans together even in competition. The Predator boot has become an icon in football, and rightly so. It’s revolutionary in its tech throughout and the only thing that matches the beauty of the technical ability of the players we look up to, is the design of this boot. There will be few out there who didn’t crave this boot. It’s time to reignite the flame. First, let’s look at how the Predator legacy has developed.

Name dropping is often seen as a detrimental way of boasting associations and accomplishments. However, in the case of Predator, it’s a must. Many players have worn the boot and added to its history, but Predators throughout the years have played their part in the players development and capabilities.

The most notable players to represent Predator are: Lampard, Lahm, Beckham, Zidane, Alonso, del Pirlo, Raúl, David Beckham, Xavi, Robin van Persie, Michael Ballack, Raúl, Steven Gerrard, Edwin van der Sar, Petr Čech, Eiður Guðjohnsen and Del Piero.

Former Liverpool midfielder Craig Johnston is the matriarch of the Predator. The legend is that while coaching children in Australia, he decided to attempt modifying boots in a bid to improve ball-control.

Johnston’s prototypes, which originally were fused with the rubber from table tennis bats, were rejected by all of the major boot manufacturers. Despite this setback, he managed to convince former Bayern Munich stars Franz Beckenbauer, Karl-Heinz Rummenigge and Paul Breitner to be filmed wearing them.

Johnston brought the film to Adidas, and it convinced the brand to take them on. In April 1994, the original Predator model was released, and a footwear revolution began.

PREDATOR ORIGINAL (1994)

1994, where the story began. The OG Predator that superseded its aims. The boot was made with a technological development that developed into an ideology adopted by this silo – innovation. It dared to go where no boot had gone before. It achieved that, and far more. It sparked a revolution. A personality within the boot that strived for greatness. It built the DNA that would continuously push boundaries and reach the next level that some couldn’t even dream of.

The life of the first ever predator, and unknowingly the vast stardom to follow, depended on the success of rubber elements that were on the upper on this leather boot. These were added to improve the power of the strike and increase the ability to curl the ball. This boot prided itself on allowing the player to achieve greater power and curl on the ball while possessing more control. The boot technology was ahead of its time, but its ideology was even further. So great, that it lives on today.

PREDATOR TOUCH (1996)

One of the many highlights of predator came in 1996 when the Predator Touch was launched. Like its predecessor, this boot went further than before with results in mind. This boot was the first to feature a fold-over red tongue that has been associated so heavily with the Predator franchise since. Not only did the aesthetic develop, but also the technology. The Predator Touch featured directional studs to boost movement and speed. As well as this, the length of the lacing system was reduced to increase the strike zone and lessen any impact on the strike. The fold-over tongue was not only a cosmetic upgrade, it served as a function to cover the lacing so that the strike was clean.

By this time, the Predator featured heavily in the top level of football. The iconic moments that live eternally in football had begun to explode on the scene. One moment we all dreamed of recreating was the unforgettable goal from the halfway line that a young David Beckham scored in Selhurst Park. Beckham had requested a pair of revolutionary Predator boots. The only pair that Adidas had available at the time were personalised for the Rangers midfielder Charlie Miller and had ‘CHARLIE’ embroidered on the red fold-over tongue. This didn’t deter Beckham, he burst out onto the pitch in the iconic boots that had indirectly found their way to him. As if it were fate Beckhams instinctual strike came out in injury time as the ball rolled to him with the keeper off his line. Just like a dream, Beckham lined up his unique technique and glided the ball over the keeper as it sailed into the net. The boot fit the player, and the opportunity fit the player, in a moment that seemed tailor made for Beckham. This goal rocketed both Beckham and the Predator to stardom, while solidifying everyone’s favourite celebrity pairing; Beckham and the Adidas Predator.

PREDATOR ACCELERATOR (1998)

1998 the Predator accelerator featured bold moves in design and features. Its visuals were outstanding, with thicker, fluid-looking stripes at the side of the boots. More importantly, the rubber band was born, that held down the tongue to cover the laces. The Accelerator features an asymmetrical lacing system that complimented the sown-down ridges for a pure strike on the ball.

Notably, these boots were worn by Zinedine Zidane, who famously scored twice in the World Cup final, while Beckham continued to defy physics with the ball as Del Piero played at his peak in Serie A.

PREDATOR PRECISION (2000)

The first Predator of the millennium did not disappoint. It brought emotion, flare and memories through its stunning design and physical advances. The Adidas Precision featured the classic rubber striking strips around the front of the boot in enclosed, individual sections. Patches of ridged rubber were incorporated on the entire front of the boot, while the ‘Traxion’ blades were now replaceable, in a similar fashion to traditional studs, to allow players to adapt to different conditions. This boot also looked the part, with waving stripes that eluded to the speed of striking the ball. Along with this the tongue grew longer and adapted the use of Velcro to be held in place.

This boot starred in one of the most mesmerizing displays of skill and passion in the game. Again, a gift from Beckham. A moment that seemed to slow down time and made everyone a spectator. Down 2-1 in the final minutes of a 2002 World Cup qualifier against Greece, England needed at least minute point to seal advancement to the World Cup finals. Greece’s defense was stubborn but conceded a stoppage-time free 30 yards from goal. An air of anticipation and doubt crept into the stadium. Surely a miracle would be needed to cause an upset, but it was the power-couple of Beckham and his Predators. What followed was pure glory. Beckham struck the ball with power, bend and dip. The ball whipped into the corner of the net, leaving the keeper to watch on as the ball sailed into his net just like the rest of the world. The goal earned England a 2-2 draw with Greece and a spot in the World Cup finals in South Korea and Japan.

PREDATOR MANIA (2002)

Another icon from the Predator silo. The Mania represented the next generation of football. The fold-over tongue now featured an elastic strap to keep it in place which was visually mesmerizing. Technology wise, the boot featured reinforced heel protection and updated swerve elements replacing the rubber fins that made the Predator famous.

They were worn by David Beckham, who himself was taking the global brand power of footballers to new levels around the 2002 World Cup in South Korea and Japan. The Predator Mania was worn by Damian Duff as he lit up the world stage and the Irish cheer followed in Korea/Japan 2002.

Zinedine Zidane also scored what many consider to be the greatest goal in the history of the Champions League. An attack down the left saw left-back Roberto Carlos send in a lofted ball for Zidane on the edge of the area. The average player would have tried to touch the ball down, but average is not a word that features in the same sentence as Zinedine Zidane. The Los Blancos talisman swiveled his body shape and let fly with a stunning left-footed volley that rippled into the net.

PREDATOR PULSE (2004)

The Predator Pulse followed in 2004. This boot was technologically driven. It featured an insole feature called the “Power Pulse System”. This sockliner shifted weight in the boot to help offer more power upon impact with the ball. The control aspect of this boot came from the rubber strips, which altered to a much thinner version. This boot also looked the part with the white stripes joining at the bottom of the foot.

This Predator was released for Euro 2004 and was widely worn during the competition.

This Predator also played a massive part in one legendary moment in particular. A moment that encapsulated the aim of this boot. It was the moment a name became a verb, and the ripples of the passion displayed by the commentator would be heard in playgrounds, pubs and nursing homes, alike for years to come. “Gerrarrrrd! Ahhhhh ya beauty! What a hit son. What. A. Hit.”. The line that lives long in the memory, just as the goal. As Steven Gerrard, with just 3.5 minutes remaining, 8 yards outside the box, put his foot through a moving ball which released a bullet of a strike that flew into the net.

PREDATOR ABSOLUTE (2006)

For many, the Predator Absolute represented the silo. Perhaps the boot with the fewest technological advances, but the most aesthetically pleasing visuals. This boot retained the “Power Pulse System” and added an interchangeable sockliner to the player and conditions.

This boot was an artistic masterpiece. The tongue extended down over the laces in magnificent fashion. This whole boot looked slick and controlled, which represented the players who wore it.

The Predator Absolutes were designed for David Beckham and claimed to be “the lightest and most powerful Predator boot ever”.

The Predator Absolute took the World Cup in 2006 by storm, worn by big names including Patrick Vieira, Kaka and Raul as well as Beckham and Zidane.

PREDATOR POWERSWERVE (2007)

Okay, we take everything we said about the other Predators back. This simply must be the cover-image of the Predator silo. There is nothing that can be said about its design, we can only admire it.

Technologically, this boot was built to improve ability when striking balls over a long distance. This edition featured new Smartfoam material that gave more rebound power, swerve, and improved control through longer ball contact. Zidane himself helped develop this boot after his retirement from the professional game. He had the knowledge of what was needed and shaped this boot for the all-round playmaker. This boots success came from its ability to get 8% more spin and 3% more power that previous models.

PREDATOR X (2009)

An inevitable turning point in the Predator silo. Modern style and the core idea of predator being functional and futuristic, had eventually caught up with itself. To the frustration of many, the fold-over tongue had been cast away. Instead, to improve the upper of this boot a Tauras leather upper was added which offered a thinner material between the foot and the ball. As well as this, the Predator X reverted back to its prior idea of a single large striking area, rather than striking strips. This area of foam was developed to give the upmost control and power.

These were a regular feature in the 2010 world cup, worn by players in every position.

PREDATOR ADIPOWER (2011)

The 2011 edition of the Adidas Predator saw AdiPower come to the forefront. These elements were added to improve the movement and speed of the player, to keep up with the demands of the modern game. After all, you had to be fast enough to get the ball before you could kick it. Most importantly, a SprintFrame outsole was added which reduced the weight of the Predator and offered a lighter fit for the modern player while keeping rubber power zone elements. The Predator element on the instep of the boot had been split into two performance zones for striking the ball with key areas of the foot. The power zone incorporated 3D fins, while the silicon rubber Predator element provides swerve and ball control.

This edition may be most prominent in the minds of Kaká fans, who witnessed him at his peak in these Predators.

PREDATOR LZ (2012)

The 2012 Adidas Predator Lethal Zones saw the surface of the boot divided into five distinct “lethal zones” that Adidas identified as the key points of contact with the ball. The first point is on the front of the boot. It gives the wearer a good first touch. The second zone is called “dribble”. It is on the side of the boot and gives a better touch. The third is called “drive”. This is the classic predator zone in the striking part of the foot, used for long passes down the field and more powerful shots. The fourth is called “pass”. It is made up of extra foam with a bit of tacky material in the passing zone. The final zone is called “sweet spot”. It is on the side of the big toe and is helpful for giving spin and chipping.

The boot focused on the touch, power and control of the ball and the design resulted in a futuristic looking edition which for the first time, displayed the classic 3 stripes in red rather than white. The Predator LZ featured that same SprintFrame and stud configuration as before. The first zone is called “first touch”.

This boot was worn by some of the key players of 2012, many of whom still feature in the boots today. These included Pepe Reina at Napoli, Fernando Torres, Mata, Oscar and Petr Čech at Chelsea, Aaron Ramsey, Mesut Özil and Per Mertesacker at Arsenal and Angel Di María and Xabi Alonso at Real Madrid.

PREDATOR INSTINCT (2014)

The 2014 Predator Instinct received a complete facelift compared to previous versions of Predators. The famous three stripes have been pushed back to towards the heel, but much like some of the older, more popular Predator models such as the Mania and Accelerator the stripes are visible underneath the boot thanks to the transparent sole plate. The technology of this boot was revolutionary.

The Predator Instinct featured rubber elements that were slightly raised to improve power and control along with a passing pad on the inside of the boots. The signature Predator rubber panels were bigger than before and moved around slightly to optimise control of the ball, sweet spot for shooting and bending the ball. The crossed pattern from the LZ is replaced with a zig-zag style design that covers more of the upper. The pass-zone gel pad on the instep of the boot has been dramatically modified with a new, bigger design to aid accuracy when passing. The most significant transformation on the adidas Predator Instinct is the new outsole. The outsole came with improved flex movement in the forefoot, it was more responsive for touch and the studs moved slightly forward to improve flexibily, traction and weight distribution.

PREDATOR 18+ (2018)

And then we come to 2018. The return of the king. Predator now returns to the football world after a short, yet heart-breaking pause to the development of the iconic boot.

A complete remake of the boot that still embodied the core of Predator – the focus on touch. Not to say this boot ignored the other features that are key in the modern game. Technology wise, the boot featured a brand new laceless design that focused on minimalizing impact on striking and having the ultimate fit for each player individually. ControlSkin grip elements on the upper improved control of the ball in all conditions. Primeknit sock-fit collar focused on ankle support and stability of the player.

This edition featured on the feet of stars such as stars such as Paul Pogba, Alvaro Morata and Dele Alli. The boot was launched in a black colourway but re-released in a traditional red, black and white colourway which played on the nostalgia of past legends of the game.

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flauntpage · 4 years

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TOP V. WEEKEND PICKS (1/16-1/22)

1. Bobbi Meier: Strange Etiquette January 17th, 2020 6-10PM Work by: Bobbi Meier salonlb: 1010 W 35th St, Chicago, IL 60609

2. Time Stamp January 17th, 2020 6-9PM Work by: Skye Tanai, Gyae Kim, Logan Kruidenier, Cain Baum Parlour and Ramp: 2130 W 21st St, Chicago, IL 60608

3. Laurel Farrin: Vaudeville January 19th, 2020 4-6:30PM Work by: Laurel Farrin Devening Projects: 3039 W Carroll Ave, Chicago, IL 60612

4. Tax Tips for Artists and Freelancers January 22nd, 2020 6-7PM Workshop by: Krystal Boney LATITUDE: 1821 W Hubbard St, Chicago, IL 60622

5. Sacred Arcanum January 17th, 2020 6-10PM Work by: Robin Monique Rios, Yasmine Abed 4Art Space: 1029 W 35th St, Chicago, IL 60609

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

TOP V. WEEKEND PICKS (12/19-12/25)

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TOP V. WEEKEND PICKS (1/9-1/15)

1. Female Trouble January 10th, 2020 5-8PM Work by: Amanda Joy Calobrisi, Lilli Carré, Quinza Najm, Kathryn Refi, Francis Waite Western Exhibitions: 1709 W Chicago Ave, Chicago, IL 60622

2. Siera Hyte: Breathe Commuter January 11th, 2020 5-8PM Work by: Siera Hyte Fresh Bread: [email protected]

3. Heirloom January 11th, 2020 5-7PM Work by: Ursula Sokolowska, Elaine Suzanne Miller, Jamie Tuttle, Jeffrey Wolin Perspective Gallery: 1310 Chicago Ave, Evanston, IL 60201

4. Lindsey Dorr-Niro: Object / coda January 10th, 2020 5-8PM Work by: Lindsey Dorr-Niro Regards: 2216 W Chicago Ave, Chicago, IL 60622

5. RE: ACKER January 10th, 2020 7-9PM Work by: Claire Finch, Douglas Martin, Noa/h Fields, Michelle Murphy, Ryan Greenlee, Jennifer Karmin, Nat Pyper, Ang Zheng M. LeBlanc: 3514 W Fullerton Ave, Chicago, IL 60647

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

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TOP V. WEEKEND PICKS (1/2-1/8)

1. Latham Zearfoss: Very Fine on Both Sides January 3rd, 2020 5-8PM Work by: Latham Zearfoss Chicago Artists Coalition: 2130 W Fulton St, Chicago, IL 60612

2. Screening: Mother Art Tells her Story January 8th, 2020 7-8PM Work by: Mother Art Hyde Park Art Center: 5020 S Cornell Ave, Chicago, IL 60615

3. Year One – Halftone Projects Anniversary Exhibition January 4th, 2020 7-10PM Little Broken Things: 2137 N Western Ave, Chicago, IL 60647

4. J-Def: 5 Elements of Hip Hop January 4th, 2020 6-10PM Citalin Gallery: 2005 S Blue Island Ave, Chicago, IL 60608

5. Anthony Sims: Embodying the Black Experience Through Performance January 8th, 2020 7-10PM Work by: Anthony Sims Links Hall: 3111 N Western Ave, Chicago, IL 60618

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

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Time Bound: An Interview with Mark Jeffery

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TOP V. WEEKEND PICKS (1/2-1/8)

1. Latham Zearfoss: Very Fine on Both Sides January 3rd, 2020 5-8PM Work by: Latham Zearfoss Chicago Artists Coalition: 2130 W Fulton St, Chicago, IL 60612

2. Screening: Mother Art Tells her Story January 8th, 2020 7-8PM Work by: Mother Art Hyde Park Art Center: 5020 S Cornell Ave, Chicago, IL 60615

3. Year One – Halftone Projects Anniversary Exhibition January 4th, 2020 7-10PM Little Broken Things: 2137 N Western Ave, Chicago, IL 60647

4. J-Def: 5 Elements of Hip Hop January 4th, 2020 6-10PM Citalin Gallery: 2005 S Blue Island Ave, Chicago, IL 60608

5. Anthony Sims: Embodying the Black Experience Through Performance January 8th, 2020 7-10PM Work by: Anthony Sims Links Hall: 3111 N Western Ave, Chicago, IL 60618

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

TOP V. WEEKEND PICKS (7/14-7/20)

Top 5 Weekend Picks! (1/9-1/11)

Top 5 Weekend Picks! (5/10-5/12)

Chicago Art in Pictures: January 2013

Time Bound: An Interview with Mark Jeffery

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TOP V. WEEKEND PICKS (12/19-12/25)

1. Kidlat Tahimik: Perfumed Nightmare December 21st, 2019 5-8PM Work by: Kidlat Tahimik PO Box Collective: 6900 N Glenwood Ave, Chicago, IL 60626

2. Dorothée Munyneza Work in Progress Show December 19th, 2019 6-8PM Work by: Dorothée Munyneza Experimental Station: 6100 S Blackstone Ave, Chicago, IL 60637

3. Silvia Inés Gonzalez: Breath Body December 22nd, 2019 12-1:30PM Work by: Silvia Inéz Gonzalez 6018NORTH: 6018 N Kenmore Ave, Chicago, IL 60660

4. Deep Time: Chicago River Walk About It and Water Taxi Tour December 22nd, 2019 1PM Work by: Deep Time Chicago, Rachel Havrelock, Public Media Institute McCormick Bridgehouse and Chicago River Museum: 99 Chicago Riverwalk, Chicago, IL 60601

5. 4Art Holiday Open Studio December 20th, 2019 6-10PM Work by: Delilah D Salgado, Robin Monique Rios, Melissa Kolbusz 4Art SPACE: 1029 W 35th St, Chicago, IL 60609

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

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Lamar Jackson FAQs: Stats, Net Worth, NFL Draft

Our Lamar Jackson FAQs will shine some light on this year’s NFL’s breakout player. In last night’s game against the Jets, Lamar Jackson threw for five touchdown passes and virtually locked up the league’s MVP award. It was Jackson’s third five-touchdown performance this season. Jackson, a nightmare match-up for even the most savvy NFL defense, […]

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TOP V. WEEKEND PICKS (12/12-12/18)

1. Susan Snodgrass: Inside the Matrix December 16th, 2019 7-9PM Work by: Susan Snodgrass Inga: 1740 W 18th St, Chicago, IL 60608

2. Stacza Lipinski and Paul Nudd: Gush December 15th, 2019 12-4PM Work by: Stacza Lipinski, Paul Nudd (curated by Debra Kayes) Tiger Strikes Asteroid: 2233 S Throop St, #419, Chicago, IL 60608

3. Lampo: Catherine Lamb and Rebecca Lane December 14th, 2019 8-10PM Work by: Catherine Lamb and Rebecca Lane Graham Foundation for Advanced Studies in the Fine Arts: 4 W Burton Pl, Chicago, IL 60610

4. Reminiscence December 13th, 2019 6PM Work by: Cindy Bernhard, Patty Carroll, Salvador Dominguez, Hale Ekinci, Michiko Itatani, Jeroen Nelemans, Omar Velazquez, Art Paul, Rodrigo Lara One After 909: 906 N Ashland Ave, Chicago, IL 60622

5. Zentangle Disco December 13th, 2019 6-9PM Work by: Yuhao Chen, Alice Cook, Jessica DuPreez, Evan Gruzis, Brian Jucas, Gyae Kim, Ingrid Olson, Gwen Wu Patient Info: 902 N Western Ave, Chicago, IL 60622

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

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Review: Institutional Garbage

It’s December. The time of year when all the ‘Best Ofs’ and just-in-time-for-Christmas reviews spill out from the internet, beckoning you to consider your engagement with the year just passed. In January of this year, I was invited to “write something” about Institutional Garbage, a book published by The Green Lantern Press and edited by Lara Schoorl in conjunction with an exhibition of the same title. Like the residue that is the content in the book itself, my review got buried in the rubble of other demands. So as I (finally) sit down to write, three things are at the top of my mind:

Critical reviews of books usually serve two functions: to lure readers to read or buy the book in question, or to bolster the significance of the book or its contents.

Book reviews are derived from the books they review, which in turn are derived from their subjects. This means both are traces, at least once or twice removed from their sources. In other words, they are debris – the garbage leftover from experiences.

Reviews of books produced outside of a timeline deemed relevant to their release date are even more garbage-like.

This, of course, is subjective. But in this case of this review, given that Institutional Garbage the exhibition took place in 2016, that Institutional Garbage the book was published in 2018, and that my review of it takes place in the final dregs of 2019, I think it’s safe to say we’re in the garbage zone. Thus, I posit this a sort of ‘anti-review review’: one so late as to hardly be useful, and which is more a reflection on the possibility (or impossibility) of the book’s content, rather than a review of ‘come hither’ promotional value. Another trace.

So, what was (or is) Institutional Garbage?

According to those in charge of describing it, it (is/was) an experimental publication that endeavors to grasp the memory, feeling, and trace of an online (and physical) exhibition that took place in the fall of 2016 through Sector 2337. The (no longer extant) gallery’s website states that it is “the administrative residue of imaginary public institutions produced by artists, writers, and curators. Contracts, email correspondences, documented unproductivity, syllabi, scanned objects, obstacle courses, and other fragments were collected to illustrate the backend activities of imaginary bureaucracies, to trace the private life of institutional endeavors.”

But what (is/was) it really?

Having been to the physical space that was Sector 2337 three years ago during the time of the original exhibition, I have some impression. There were details about the exhibition printed on paper towels in the gallery’s bathroom by artist David Hall, which viewers wiped their hands on and promptly tossed (I kept mine, to add to my ironic consumable-art collection – ever more ironic in the face of Maurizio Cattelan’s recent exploits). There were physical performances, and a website I was encouraged to (and, my apologies) did not really engage with. Probably there were other things. Then came this book.

The authors of Institutional Garbage encourage you to go through it in any direction or order, which I promptly ignored in favour of a classic cover-to-cover engagement. The book, after all, does nothing to break convention. It is artfully designed in a way that I can only describe as contemporarily Dutch, like many of its contributors. (I get off saying this because I’ve lived in The Netherlands for the last two years, and trust me – any poster in any city for any purpose is done with near identical visual cadence and designerly minimalism, down to the Helvetica Neue and Knif Mono typefaces). In the midst of this perhaps atopical slickness, reading this book is a bit like an act of rummaging. I will categorize and highlight a few “finds” here:

Teasers: Daniel Borzutzky’s “Data Bodies (excerpt),” which came in the form fragments of poetry and text that left me wanting more, such as the rife-with-implications correspondences between Chelsea Manning and an unknown other in which she describes listening and lip-synching “to Lady Gaga’s Telephone while exfiltratrating possibly the largest data spillage in american history”

(Grimly Familiar) Traces: Jane Lewty’s “Dear Committee [To be Read Alongside CV],” which painfully engages institutional biases around gender and mental health

Gratifying/Formally Succinct Works: Lise Haller Baggesen’s “The Archive,” a series of science-fiction emails to be read from the first to the last (in other words, backward) that chronicle the interaction between two women around female genius in the year 2033, rife with productive feminist metaphor, and ending in a baby swap…

Negating/Formally Succinct Works: David Hall’s “The Lid on Garbage Can,” which does well not to appease in the robotic ‘spamming’ of its own text (a coded program that renders a fragment of barely sensible legalese completely incomprehensible)

Bird’s Eye View: Jill Magi’s “Thirteen Thoughts Contextualizing “Institutional Garbage”,” that describes garbage as an expression of middle-class consciousness/good citizenship, and waste management as theatre for an institution’s ecopolitical stance

Garbage: The overblown academic-speak of Rowland Saifi’s “Statement for a Configured Curriculum,” which exhibits a flagrant wastefulness of language: “A hermeneutic condition of Open Chronotope Objects is conducted in the state of Deep Interlocking Ambiguity and, therefore is in a state of multiplicity. This creates the condition of an Architecture of De-puzzlement.” Like most writing of this kind, one has to do backflips to get anything from it, even in context, and I won’t.

In the end, what struck me about Institutional Garbage was how my experience reading it was so very unlike the process of sifting through trash (a task that I have, in varying states of poverty and privilege, done a great deal of). The book does self-consciously attempt to complicate itself in some ways, as with the curatorial section largely blanked out with white ‘paint’ (then promptly ‘explained’ by descriptions of the actual events curated for Sector 2337), with images of these performances Ben Day dotted to near oblivion, and with mixtures of fact and fiction. But the strong curatorial vision and inherent desire to preserve the integrity and relevance of its contributors is staunchly maintained.

Perhaps the only clear thwart I found was buried deep in Institutional Garbage, in Jill Magi’s “Curious, Fugitive, and Unedited (The Art Labor Archive of Teaching Days).” In this writing, Magi re-presents “the detritus of in-class writing exercises” by her students as part of her own work titled “The Labor Archive.” It is unclear whether or not she obtained permission for this, but her “dangerous citational practices” are precisely where the rubber meets the road. As any homeless person in the United States could tell you, trash becomes public property once it leaves private grounds. This is what makes dumpster diving possible, and why some businesses have resorted to compacting or, even more heinous, to poisoning food waste to keep humans out of it. In some ways, I almost wish the creators of this publication hadn’t curated or commissioned anything at all, but rather had taken what they wanted from what institutional garbage they could access. What would the ramifications have been for a publication which picked through digital trash, and braved negotiating the line between digital garbage and digital property?

In their emails to one another, Caroline Picard and Lara Schoorl speculate on the impossibility of a perfect, imaginary, “alternative, ideal, utopic institution” might look like. As a reader, the more pressing questions at hand seem to be these: are curating and garbage-making polar opposites? And what does it mean for curators to ‘make garbage’ (render slightly less clear, slightly less complete, and in some cases, slightly less contextual) the practices of art-adjacent people? I’m reminded of Marcel Duchamp’s “sixteen miles of string,” which in order to achieve its overarching vision intentionally paved over and inhibited viewing other work in the exhibition. Contemporarily, of course, it’s a dating faux pas to view curation in this light. In Institutional Garbage, Tricia Van Eck produces a hand-written letter called “Alchemy and Curation,” stating that “[…] it’s important for curators and artists in group shows (and even in solo shows) to share the oxygen in the space for all artworks to breathe.” Trash is stifling – it erases meaning through its surplus of meaning and scarcity of space. Aesthetically, this book has a lot of breathing room.

Of course, proclamations of impossibility and desirable failure such as those in the correspondences between Schoorl and Picard are like get-out-of-jail-free cards that anticipate any potential wrongdoings. But I think the real key to Institutional Garbage lies in Fulla Abdul-Jabbar’s essay, “Always,” at the book’s end:

“What we really want from our time with this book is that which is not this.

I don’t think you mean to sound that way.

Do you mean to say it like this?

Perhaps you can rephrase this.

Can you expand on this?”

To which we respond, of course, always. But not now.

Epilogue:

On a small shelf in my house a sun-baked candy from Félix González-Torres “Untitled (Portrait of Ross in L.A.)” oozed and leaked in dangerous proximity to my Ai Weiwei “Sunflower Seeds.” So I took David Hall’s paper towel program and wiped it up. I’m not sure, but I think this has something to do with art.

Thank You, Kathryn.

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Review: Institutional Garbage published first on https://footballhighlightseurope.tumblr.com/

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flauntpage · 4 years

Text

TOP V. WEEKEND PICKS (12/5-12/11)

1. Jenyu Wang: Boyfriend December 5th, 2019 4-7PM Work by: Jenyu Wang Leather Archives and Museum: 6418 N Greenview Ave, Chicago, IL 60626

2. Benjamin Larose: I’ll See You When You Get Here December 8th, 2019 11AM-2PM Work by: Benjamin Larose Material Exhibitions: 2025 W Belmont Ave, Chicago, IL 60618

3. Psychochromatic December 7th, 2019 4-7PM Work by: Han, Cain Jeanne Beiswanger, Em Marie Davenport, Amanda Butland, Wenslo Garcia, Alec Nicholson, Grant Marshall, Jamila Raegan, Yumin Kang ADDS DONNA: 3252 W North Ave, Chicago, IL 60647

4. Atefeh Farajolahzadeh: Still Moving December 5th, 2019 4-6PM Work by: Atefeh Farajolahzadeh C33 Gallery: 33 E Ida B Wells Dr, Chicago, IL 60605

5. Renegade Chicago December 7th, 2019 11AM-5PM Bridgeport Art Center: 1200 W 35th St, Chicago, IL 60609

Hey Chicago, submit your events to The Visualist here: http://www.thevisualist.org.

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TOP V. WEEKEND PICKS (12/5-12/11) published first on https://footballhighlightseurope.tumblr.com/

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flauntpage · 4 years

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Review: Institutional Garbage

Critical reviews of books usually serve two functions: to lure readers to read or buy the book in question, or to bolster the significance of the book or its contents.

Reviews of books produced outside of a timeline deemed relevant to their release date are even more garbage-like.

So, what was (or is) Institutional Garbage?

But what (is/was) it really?

(Grimly Familiar) Traces: Jane Lewty’s “Dear Committee [To be Read Alongside CV],” which painfully engages institutional biases around gender and mental health

“What we really want from our time with this book is that which is not this.

I don’t think you mean to sound that way.

Do you mean to say it like this?

Perhaps you can rephrase this.

Can you expand on this?”

To which we respond, of course, always. But not now.

Epilogue:

Make Up the Breakdown: Music as Self-Contained Instruction in 140

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Review: Institutional Garbage published first on https://footballhighlightseurope.tumblr.com/

0 notes