Sunday, March 24th
12-2pm
"Part of this project is to make evident the inter-relationality and economics of knowledge exchange via the library—in our homes, with friends and institutions, we continually circulate knowledge. It is not only in the public library where we find and acquire books, it is also, and above all, from personal collections that collective networks are created. A tribute *to* books and the written word, the project recognizes libraries as emotional, creative, vulnerable, open and sites constantly in flux.” 🌀
📕 Javiera Barrientos is a book historian and bookbinder. She investigates the intersections between material culture, literary genres, and practices of colonial and postcolonial extractivism and bibliographic exchange. She is co-writer of Inhabiting the Library. @notasdearte
📗 Bel Olid is a language and Literature professor at the University of Chicago, they have also been very active as a translator of Catalan and, to a lesser extent, of Spanish, mainly of feminist literature and children's books. @bel_olid
📘 Andrea Reed-Leal is a historian and independent editor. She investigates the history of the book and libraries, female intellectuality, and objects as knowledge. She is the co-editor of Inhabiting the Library. @anreedl
Saturday, March 23rd
6-8pm
🌊 ⚓️ Join us for a brief presentation from the editors, along with drinks, conversation, and an opportunity to get up your copy of Waybill
🚚 📦️ Doors open at 6pm, with talks beginning at 6:30pm
Saturday, March 2nd
5:30-8pm
Lisa Lapinski: Miss Swiss is artist Lisa Lapinski’s most comprehensive monograph to date. Lisa Lapinski is an artist living and working in Houston, Texas.
Published on the occasion of Drunk Hawking, her 2020 mid-career survey at Visual Arts Center (VAC) at the University of Texas at Austin, the book will include never before published images of Lapinski’s exhibitions and artworks from 2000 to the present. Miss Swiss features contributions by Bruce Hainley, Graham Bader, Kyle Dancewicz, Sabrina Tarasoff, and MacKenzie Stevens, as well as a conversation between the artist and linguist Viola Schmitt. Designed by artists Laura Owens and Asha Schechter of Apogee Graphics, the book is an inventive collaboration between Owens, Schechter, and Lapinski, providing new insights into Lapinski’s influential and idiosyncratic practice.
Sunday, February 25th
6-8pm
Join us Sunday, February 25th for NO SHELTER, a video series exposing new forms of migrant detention being concocted by collaborations between the state and the non-profit industrial complex. Made by a semi-anonymous collective of filmmakers, activists, survivors, and whistleblowers in Chicago, these films address the detention of migrant children in facilities run by Heartland Alliance, the inhumane warehousing of Venezuelan migrants by the Brandon Johnson administration, and the related manufactured public housing “crisis.” The screening will be followed by a discussion with filmmakers and activists from several organizations and autonomous projects present
Sunday, February 18th
2-4pm
🧃Light snacks and drinks will be provided, masks are required 😷—some will be available on site. Due to the smaller space, there is a limited amount of spots, and an RSVP is needed. We look forward to gathering for this time of art-making, film watching, and community building, while centering those in Gaza. Free Palestine!
Saturday, February 17th
5:30-7:30pm
Saturday, January 13th
4-6pm
Journalist and critic Anjulie Rao calls for equitable stewardship of urban spaces, MarkMcIntyre speaks on New York City’s Clean Soil Bank, soil scientist S. Perl Egendorf champions creating technosoils for urban landscapes, Cornell extension agent and composter Kwesi Joseph sings the praises of soil mineralization, poet Timothy Otto tells a tale of repairing relationship with both contaminated land and his father and biogeochemist Johannes Lehmann shares his long history working with biochar.
✏️🌿 With ink illustrations by Julie Wu 🍪☕️ and sweet treats by Alma Lindgren (@almalindg) 🖨 Produced by Social Ecologies (@socialecologies)
Wednesday, December 6th
7-8:30pm
🇵🇸 "The Gaza Monologues are testimonies written by ASHTAR youth in 2010, after the first war on the Gaza Strip. Tragically, these Monologues are still accurate today. They are highlighting the horrors, hopes and resilience of the courageous Gazans to a wider audience, bringing out the voices of children and people in Gaza." –@ashtartheatre
Thanks to @ercaba_ and @leticiapardo_ for organization/coordination
Sunday, November 12th
4–6pm
🧰 🔀 In Track Changes: A Handbook for Art Criticism, twenty-five art writers and editors share strategies for critical writing and editing that encourage solidarity and reparative decision-making to actively challenge structural inequalities within the art world. The book offers transparency into the editorial process and serves as a supportive guide to art criticism. It includes contributions by Kemi Adeyemi, Andy Campbell, Erica Cardwell, Re’al Christian, Aruna D’Souza, Leslie Dick, Amy Fung, Merray Gerges, Annie Godfrey Larmon, Ariel Goldberg, Yves Jeffcoat, Dana Kopel, Yaniya Lee, Dessane Lopez Cassell, Jessica Lynne, Tausif Noor, Ashley Stull Meyers, Lindsay Preston Zappas, Kristina Kay Robinson, Jillian Steinhauer, Ana Tuazon, Monica Uszerowicz, Wendy Vogel, Emily Watlington, and Elisa Wouk Almino.
Saturday, October 28th
7–10pm
🚪Doors will open at 7 pm for light snacks, with the screening starting around 7:30 (Run time: 1hr 2 min) and a post-screening discussion aiming to address one of the central questions at hand in the film: What are the origins of Monstrosity? A reader of the material, the film, and Black Horror put together by A.J. and Isra will also be available alongside our titles at the shop 💭. The night will close with an accompanying playlist for the occasion.
Saturday, October 21st
6–8pm
🪐🗝🧰 Oscillating between existential enormity and the “tiny electronic mess” of the self, Continuum telescopes temporal vastness into sharp utterance. Keenly perceptive and sonically incantatory, Continuum follows the porous “I” across elastic thresholds of past, present, and future. When “every rational option” tries and fails, Baranova challenges us to embrace irrational options. Lovingly dialogic, this collection bears witness to ongoing destruction and renewal, offering transformational visions of the future that refuse neat resolution. Baranova enjoins us to will these futures a reality. If language creates us, Continuum’s poetics are a testament to the limitless possibilities of making and remaking the self.
🧵 Ivanna Baranova is a writer, editor, teacher, and artist from the Pacific Northwest living in Los Angeles. She is the author of Confirmation Bias (Metatron Press, 2019) and Creative Communications Coordinator at the Poetry Project.
Tuesday, October 3rd
7–9pm
🇬🇹🪢🇸🇻 join us for reports from recent delegations to Guatemala and El Salvador, covering popular social movements and resistance to electoral fraud, land dispossesion and ecological destruction, and right wing authoritarian power consolidation, with @cispes_solidarity @crln_la @nisgua_solidaridad (plus snacks!)
🇬🇹🪢🇸🇻 acompañanos para escuchar informes de delegaciones recién vueltos de Guatemala y El Salvador, quienes cubrirán los movimientos sociales populares y la resistencia al fraude electoral, el despojo de tierras y la destrucción ecológica, y la consolidación del poder autoritario de derecha, con @cispes_solidarity @crln_la @nisgua_solidaridad (y con refrigerio!)
Saturday, September 30th
7–9pm
📙 Limn the Distance imagines decentralisation through personal narrative and the concentric communities of one mountain—from the radical sectarian shakers and experiments in communitarian living and small-scale farming that followed in their wake, to the life and legacy of poet Bernadette Mayer who lived nearby. Rose seeks movement away from rather than apart from major cities and art worlds, godheads and normative bodies as affirmative knowledge and value systems. Co-opting the essay, Limn the Distances uses poetics, autobiography and the fragmentary mode as a proposition for communitarian and decentralised practice in art-making and poetry.
🌾 Rose Higham-Stainton is a writer and critic whose work is held in the Women’s Art Library at Goldsmiths College and has been published widely, including by LA Review of Books, Texte Zur Kunst, Artforum, The White Review, Art Monthly, X-Tra, Bricks from the Kiln, Apollo, MAP Magazine and Worms. She has written several chapbooks and Limn the Distance is her first book, published this month by JOAN (@publishingjoan)
🌀 lee rae walsh is an artist-poet-photographer-teacher–researcher-facilitator-and-friend. They most recently organized Slowly and Surely with an Eternal Wing, an ongoing series bringing together artists, poets, lecturers and performers who use the stage as a place to truly, & messily practice. Their work is sundrenched and blurry, and happens in the hours of each little day.
Sunday, September 3rd
1–7pm (then until 🌅)
Saturday, August 12th
2–6pm
New Documents
Los Angeles
(loves) ♻️
🌱 📚
Inga Books
Chicago
We're open from 1–7pm, and from 2–6pm are excited to host a @newdocuments pop up, with Jeff direct from sunny LA, with a myriad collection of new books from the art book publisher including titles from Raven Chacon, Lucy Lippard, Pope.L, and Haris Epaminonda and Daniel Gustav Cramer's Infinite Library, among many, many others. 🌀🧩 🌞 We'll also have a scent to read by—sandalwood incense for the taking.
Friday, July 28th
7pm
Film Program:
Emily Beaney (UK), Deviant, 2021
Ana García Jácome (MX), Malitas, 2022
Trini Ibarra (MX), He sido muchas, 2021
Nur Matta (MX), Maldita lisiada, 2021
Radical Visibility Collective (US), Access Bitch, 2018
Marrok Sedgwick (US), People Like Me, 2019
😷 Masks required. This project is supported by 6018|North as part of the ongoing project Justice Hotel.
Friday, May 19th
7pm
Some of the collective's output 📖 will be available for browsing—refreshments too 🧃🧉
Saturday, April 15th
5pm
“Bosque de Cantares is a formless entity that threatens to unravel excessively codified historical episodes and, therefore, to allow new secret passages in time. Jumping freely between epochs and events (from the Tlaxcala Child Martyrs of 1527 to the Tzeltales of the twenty-first century, passing through Ignacio Castera's late seventeenth century urban conception or John Kenneth Turner's post-revolutionary Mexico), this series of fragmentary essays seeks to move the roles of Mexican anthropology, history, and literature, because it understands that only from that movement these roles can be repoliticized and serve as a toolbox.”
Friday, April 14th
6pm
📖 Violence is arrayed against us because we’re Black, or female, or queer, or undocumented. There is no rescue team coming for us. With that knowledge, we need a different operational base to recreate the world. It is not going to be a celebrity savior. Never was, never will be. If you’re in a religious tradition that is millennia-old, consider how the last savior went out. It was always going to be bloody. It was always going to be traumatic. But there’s a beauty to facing the reality of our lives. Not our lives as they’re broken apart, written about, and then sold back to us in academic or celebrity discourse. But our lives as we understand them. The most important thing is showing up. Showing up and learning how to live by and with others, learning how to reinvent ourselves in this increasing wasteland. That’s the good life.
Foreword by Da’Shaun L. Harrison
Afterword by Mumia Abu-Jamal
Friday, June 24th
7–9pm
RSVP: https://www.eventbrite.com/e/how-shall-thou-resolve-thyself-presented-by-inga-tickets-354702092507
The Chicago premiere of new performance arranged for print by Matty Davis, featuring seven Chicago performers, artists, and friends.
Presented by Inga, How Shall Thou Resolve Thyself will premiere in Chicago with cast of seven Chicago-based artists, performers, and educators: Bryan Saner, Katharine Schutta, Amira Hegazy, Thomas Huston, Luke Joyner, Sungjae Lee, and Anders Zanichkowsky. This occasion marks the first time that the work is presented by performers who themselves are not in the publication, offering a unique exploration of empathy that's motored by language, voice, and personal experience.
Admission to the event is free, but attendees may choose to make a donation - all donations go to the performers. While walk-ups and passersby are welcome, RSVP is strongly encouraged, as the work is spatially sensitive and it is important to know how many attendees are expected. A limited number of editions of How Shall Thou Resolve Thyself will be available for purchase at Inga.
More specifically, How Shall Thou Resolve Thyself is a performance arranged for print that uses choreography, writing, photography, and design to trace the inner and outer contours of five people under pressure. Each person appears upon the same slab of concrete at different points in time. All engage a single gesture, including its approach and its undoing. Time is scarce, bodies pry. Meditations on gender, determination, solitude, and pain build and seep from within an exacting loop of structure and sensation.
How Shall Thou Resolve Thyself was conceived by Matty Davis and arranged for print by Matt Wolff and Nilas Andersen. It was performed by Holly Sass, Matty Davis, Matt Shalzi, Nile Harris, and Bobbi Jene Smith, with photographs by Jonah Rosenberg.
Following Knee Balance, How Shall Thou Resolve Thyself marks the second work in a series of performances by Matty Davis that are arranged for print by Matt Wolff. Distinct in content and form, and featuring contributions from artists of various disciplines, each work weaves together spatial, temporal, and empathic possibilities unique to performance and printed matter. How Shall Thou Resolve Thyself was published in an edition of 150 and bound using fragments of clothes worn by the performers.
Matty Davis is an artist and choreographer whose work uses embodied forms of risk, trust, and empathy to locate and expand relationships to the self, other people, land, and histories. Unique and multi-faceted, each of these relationships, i.e., projects, is part of a broader orbit around perennial questions of mortality, desire, and how to deal with one another and survive together. Davis was born in Pittsburgh, PA, where his grandfather worked in the steel mills and his dad’s plane crashed. He grew-up as a multi-sport athlete, which exposed him to visceral experiences of surface, injury, resilience, cooperation, and play that continue to influence his interdisciplinary work. Spanning sculpture, drawing, photography, and books, his projects predominantly manifest in performance and dance, which he values as shared space in which to be transformatively alive. His performances have been described as “balancing ecstatically on the edge of life and death.” For more information, please visit www.mattydavis.net