Madlener House
4 West Burton Place
Chicago, Illinois 60610
Telephone: 312.787.4071
info@grahamfoundation.org

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ARCHITECTURE EVENT / HORIZON
Mario Gooden
Oct 24, 2018 (6pm)
Talk

Please RSVP

Architecture is a spatial performance that can engage space-making and the idea of liberation as a spatial practice—much as Michel Foucault said that liberty is a practice. In this talk, Gooden explores how relationships between architecture and performance liberate otherness and challenge the hegemony of Western thought and cultural imagination.

Mario Gooden is a cultural practice architect and sole principal of Huff + Gooden Architects. His practice engages the cultural landscape and the intersectionality of architecture, race, gender, sexuality, and technology.  His work crosses the thresholds between the design of architecture and the built environment, writing, research, speaking, performance, and education advocacy in the pursuit of spatial and social justice.  Gooden is also a Professor of Practice at the Graduate School of Architecture Planning and Preservation of Columbia University where he is a co-director of the Global Africa Lab (GAL). He teaches advanced architectural design and theory at Columbia University where his studios focus on performance and cultural theory relative to global topics. Gooden is the author of Dark Space: Architecture Representation Black Identity (Columbia University Press) published in 2016.

Image: Harlem Now: Architecture and Its Ghosts (model view), 2017. Courtesy Mario Gooden

For more information on the exhibition, Incense Sweaters & Ice, click here.

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Overgrown: Practice between Landscape Architecture and Gardening
Julian Raxworthy
Nov 01, 2018 (6pm)

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Landscape architecture has a fraught relationship with gardening, despite having developed from it via landscape gardening, as it has sought professionalization by becoming more architectural. Raxworthy argues that as landscape architecture has become more representational it has lost touch with maintenance tools in gardening that allow for the optimisation of the properties of change that landscape materials like plants have, such as growth. Here, Raxworthy presents an overview of his latest book, Overgrown, that advances a new model for plant form—the viridic, a landscape equivalent of the tectonic, from the Latin for green, connoting spring and growth—which he suggests has been under-theorized in landscape architecture. This talk marks the Graham-awarded publication of Overgrown: Practice between Landscape Architecture and Gardening from 2016, which was published by MIT Press in 2018.

Julian Raxworthy, PhD, is an Australian landscape architect, and teaches in the Master of Landscape Architecture and Master of Urban Design programs at the University of Cape Town, South Africa. He was a recipient of a Graham Foundation for Advanced Study in the Fine Arts grant for his book Overgrown: Practices between Landscape Architecture and Gardening, published by The MIT Press in Fall 2018.

Image: Species from the family Araceae collected by Roberto Burle Marx highlighted around the lake at the Sitio Roberto Burle Marx, Brazil. Courtesy the author.

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The Whole Earth Catalog (1968–1971) revisited
Caroline Maniaque
Nov 07, 2018 (6pm)
Talk

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The Whole Earth Catalog (1968–1974), was a cultural touchstone of the 1960s and 70s. The iconic cover images of the Earth viewed from space made it one of the most recognizable volumes on bookstores shelves. The lecture will shed light on material aspects of the Catalog—its mode of production and behind-the-scenes debates- and to better understand the intentions of its protagonists. Additionally, this talk acknowledges the 2012 grant Maniaque was awarded by the Graham to make the 2016 publication through MIT Press possible.

Caroline Maniaque-Benton, PhD, is Professor of the History of Architecture and Design at the Ecole Nationale Supérieure d'Architecture  Normandie, and part of the research laboratory Ipraus- Umr AUSser /University Paris Est. A past fellow of the Canadian Centre for Architecture, Graham Foundation and Center for Advanced Study in the Visual Arts (National Gallery of Art, Washington, DC), she is the author of Le Corbusier and the Maisons Jaoul (Princeton Architectural Press, 2009),  French Encounters with the American Counterculture 1960–1980 (Ashgate, 2011), and the editor, with Meredith Gaglio,  of the anthology entitled Whole Earth Field Guide (MIT Press, 2016).  She is the co-curator of the exhibition Mai 68. L’architecture aussi!, Cité de l’architecture et du patrimoine, Paris, May-September 2018. She also is editing the book Les années 68 et la formation des architectes, Rouen, Point de vues, 2018.

Image: Back cover image of a cutaway globe against a pink background showing the two Americas, filled with earthworms breaking through the surface. Paul Krassner and Ken Kesey (eds.), “The Realist Presents: The Last Supplement to the Whole Earth Catalog,” Realist 89 (New York: Realist Association, March 1971). Courtesy Stewart Brand and the Department of Special Collections and University Archives, Stanford University Libraries

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Madalyn Merkey: Digital Concert Creatures
Lampo Performance Series
Nov 17, 2018 (8pm)

RSVP Required

In her Lampo debut, Madalyn Merkey premieres the performance of Digital Concert Creatures, a quadraphonic work for synthetic computer sounds and voice. Here, she sets autonomous sonic characters, or “creatures,” in motion, building sound by layering frequencies. “The main idea is that each letter on the keyboard has a different personality defined by four columns of numbers on the computer screen,” she writes. “Each keystroke catches a snapshot of the ‘creature’ as it moves along a compositional path, which then becomes complicated or influenced by the other keys being pressed.” Through a mix of control and chaos—and informed by mathematics more than traditional musicianship—Merkey’s new work is as playful as it is dense.

Since 2010 the Graham Foundation has supported and partnered with Lampo to produce this performance series held at the Madlener House. Lampo, founded in 1997, is a non-profit organization for experimental music and intermedia projects.

Madalyn Merkey (b.1988, Oklahoma City, Okla.) is a composer and performer of live computer music based in Oakland, California. Her practice began as a visual artist at the School of the Art Institute of Chicago, where she transitioned to sound and time-based art in 2010. Her recent work is concerned with using principles of logic to create computer programs that generate distinct sound surprises in a live setting. Merkey is also the English translator of Due scuole di musica elettronica in Italia, a pioneering electronic music text written by Enore Zaffiri in the 1960s. Her translation, Two Schools of Electronic Music, is forthcoming from Die Schachtel. Recordings of Merkey’s work Scent (2012) and Valley Girl (2014) are available on New Images Ltd.

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Carl Stone
Lampo Performance Series
Dec 08, 2018 (8pm)

RSVP Required

Computer music pioneer Carl Stone performs unreleased recent works, including Don Dae Gam and Sun Nong Dan, named after favorite restaurants, in this special concert for Lampo. Stone studied with Morton Subotnick and James Tenney at CalArts during the early 1970s, and, while still a student, began using appropriated material to generate work. His exploratory techniques led to a body of complex sound collages, widely credited for laying the groundwork for the entire sampling movement, and defining the arc of his singular practice over the decades since. He has proven a prolific and imaginative voice in electronic composition, mashing together notions of high and low culture and recontextualizing diverse ethnographic materials, from Purcell to Spears, into immensely beautiful, time-bending music.

Since 2010 the Graham Foundation has supported and partnered with Lampo to produce this performance series held at the Madlener House. Lampo, founded in 1997, is a non-profit organization for experimental music and intermedia projects.

Carl Stone (b.1953, Los Angeles, Calif.) has composed electroacoustic music almost exclusively since 1972, and has used computers in live performance since 1986. He was among the vanguard of artists incorporating turntables, early digital samplers, and personal computers into live electronic music composition. An adopter of the Max programming language while it was still in its earliest development at the IRCAM research center, Stone continues to use it as his primary instrument, both solo and in collaboration with other improvisers. He is currently a faculty member at Chukyo University in Japan. Two retrospective volumes of his work, Electronic Music from the Seventies and Eighties (2016) and Electronic Music from the Eighties and Nineties (2018) are available from Unseen Worlds.

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Unless otherwise noted,
all events take place at:

Madlener House
4 West Burton Place, Chicago

Gallery and Bookshop Hours:

Wednesday—Saturday, 11am–6pm

312.787.4071

Directions to Madlener House

Accessibility

Events are held in the ballroom on the third floor which is only accessible by stairs.
The first floor of the Madlener House is accessible via an outdoor lift. Please call 312.787.4071 to make arrangements.