Bad at Sports
Bad at Sports
Bad at Sports
Bad at Sports Episode 94: Jana Gunstheimer/ Chicago Politics
1 hour 16 minutes Posted Jun 17, 2007 at 3:30 am.
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Show notes

This Week: Guest interviewer Lisa Dorin talks to German artist Jana

Gunstheimer (see the blurb shamelessly lifted from the AIC website, below).
ALSO we get two different perspectives on the fight over the Public Art Program
and how they handle the selection and approval process. Kathryn talks to Olga
Stefan Executive Director of the Chicago Artists' Coalition at Monday's protest
rally, and Duncan
talks to Gregory Knight, Deputy Commissioner/ Visual Arts of the Chicago
Department of Cultural Affairs after the vote was in. This conflict has been
actively discussed on our blog, see what the hoopla is about!

Richard spent a lot of time chuckling to himself about the music cues in

this weeks show.

German artist Jana Gunstheimer combines her academic training in ethnology

with a refined figurative drawing practice to observe and comment on aspects of
her own culture. Gunstheimer responds to the transformations she sees taking
place in contemporary German society including postindustrial desolation,
drastic unemployment, and rising levels of aggression among people of her
generation by way of a semi-fictional organization she calls Nova Porta.
Complete with a logo, Web site, and an actual membership, the organization
offers  People without Social Function a semblance of structure through group
cohesion and rigid hierarchy.

Adopting impenetrable rituals, tireless evaluation procedures, and managed

leisure, the organization's stated goal is risk management and its activities
are driven, if not wholly fabricated, by the artist. Under the conceptual
framework of Nova Porta, Gunstheimer effectively parodies hierarchical
structures, bureaucracy, and, most importantly, society's need to define one�s
worth in terms of work.

Focus: Jana

Gunstheimer is the artist's first solo museum exhibition in the United States.
In one all-encompassing installation, the exhibition features exquisitely
rendered, photo-based grisaille watercolors on wood panel, a large-scale paper
cutout, a site-specific wall drawing, and a newspaper intervention work that
all reference the initiatives of Nova Porta, adapted to the specific context of