Have you hoped and dreamed for years and years (or months and months) of being a Happy Collaborationist? Of donning a blue wig and a good time? Well if you have, or if you haven't and it sounds like fun anyway, you are in luck! Happy C is doing Art on Track and we want you to come out and join in. If you are free Aug. 7th and interested in participating in our performance (and thus getting in FREE) in Art on Track please let me know.
Thank you to everyone who came out to witness the Jumping of the Shark. Referring to an episode of Happy Days ‘Jumping the shark is an idiom used to describe the moment of downturn for a previously successful enterprise. The phrase was originally used to denote the point in a television program's history where the plot spins off into absurd story lines or unlikely characterizations… often the result of efforts to revive interest in a show whose viewership has begun to decline.’ Wikipedia
‘Shock art is the safest kind of art than an artist can go into the business of making today.’ Lynne Munson
Based between London and New York, Isobel Shirley uses both her practice to address the different functions of the art world, and the roles created within it. Whilst promoting interaction and discourse, her work often uses a knowing humour to question her own intentions as an artist and motivations for producing work. Using the platform of her first solo exhibition Shirley questions the implications of an artist. Always striving to make that piece of work that will make your mark, yet dreading forever being associated with it and pigeon holed.
During her exhibition at Happy Collaborationists, Shirley presented a body of work from her ongoing mission to jump over Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living. Happy C presented Shirley's training and obsessive year and a half long preparations, culminating in a performance of death defying feats, Shirley asks the question, ‘Is it possible to jump the art shark?’ and if so ‘Where do you go from there?’
Those of you who came out to witness now know the truth, you can jump the shark and Happy C is looking forward to working with Isobel Shirley again to see just where she goes from here!
In the built environment, this occurs more than we might think. Whenever spaces are shuffled, rebuilt, or remodeled, shadows remain. Tarred rooflines remain on the sides of a building long after the neighboring structure has been demolished; removed stairs leave a ...mark where the painted wall surface stopped. Dust lines remain from a relocated appliance. Faint legible remains.
Please come join Happy C for the Devil's Barnyard on May 8th. We will "walk the line" between country and western, homage and derivation, sexism and sexuality, recreation and self-abuse, God and people, people and animals, swing and boogie, spring and summer, volume and noise, nostalgia and authenticity, art and whatever the other stuff is.
Take the cow by the horns. PBR. Love. Cornhole.
An ex-urban Rite of Spring Celebration
Images and objects provided by Slim Limb, weelittleladdy, and Beelzebubba
Music by DJ Odd Job - dancing is encouraged
Complimentary gallon of Blue Fluid windshield wash to the first 100 guests!
Saturday, May 8 at 8pm at Happy Collaborationists Ex. space 1254 N. Noble St.
The Happy Collaborationists is a Chicago based curatorial and artistic entity consisting of Anna Trier, Hadley Vogel, and Meredith Weber. Our focus as “Happy C.” has been to provide a venue for the creation and exhibition of performance, installation and new media derived works. Striving to facilitate the exhibition of projects and artists we believe in through collaboration and dissemination of our philosophy through experience and incorporation. As a collective we exist in solidarity and express this through the donning of blue wigs, creating a visual moniker. Our first manifestation was through a quarterly publication that has evolved into a catalogue of our curated series to serve as a record of the ephemeral events we have hosted. In our most recent endeavor, our curative nature was more expressly connected to our performative practice and propelled us towards a new mode of communication and bridged the gap between art and art events – curation as art.