All-white walls enclose an unidentifiable treadmill-like device, the whoop, whoop, whoop-ing of its enormous belts sounding throughout the room. This gallery-within-a-gallery at the University of Chicago’s DOVA Temporary exhibition space in Harper Court was created by graduating Master of Fine Arts candidate David Cordero. The artist began thinking about his thesis project, “Grind,” using a set of tiny models set in shoebox-sized boxes, as a live sketchbook for the works he could create for a full gallery exhibit. This “testing space” for his ideas required the construction of simple, recognizable objects scaled down to thumb-size. Playing with the ambiguity of those shapes we commonly utilize, the blown-up result is majestic proof of technological innovation; it’s confusing and beautiful, and mechanically perfect, begging the question, so what does it do? Read the rest of this entry »

Around a rectangular table in a conference room at the Bessie Coleman Library, a group of University of Chicago students and community members are meeting to discuss this year’s Art in Action festival. “Okay, who is taking care of sign-making Monday?” one student asks. Several hands go up from the planning committee, made up of seven students and seven community members, including a local pastor, several artists, and members of various South Side organizations. Enthusiasm is high and periodic chatter interrupts the main agenda: the logistics of an event meant to bring the UofC community into contact with those around it. Read the rest of this entry »

Acclaimed art critic and film director Amei Wallach stood in front of an audience of about 30 last Thursday at the University of Chicago’s Film Studies Center to present clips from her work in progress, “How to Make a Paradise.” It was the first time Wallach had shown her clips publicly, and viewers were more than happy to give feedback on what they had seen.

Ilya and Emilia Kabakov, the internationally renowned Russian conceptual artists, married couple, and the subjects of the film, were seeing it for the first time as well. Read the rest of this entry »

(Mehveş Konuk)

“Doov, doov, doov, doov. You know that sound? We grew up on that sound,” says Jasson Perez, beat-boxing a juke beat. He is sitting next to fellow band members Michael “Illekt”, Rich “Epic,” and DJ Esquire in the basement of the University of Chicago’s Reynolds Club, where they are waiting to perform at the UofC’s Festival of the Arts. Collectively the Chicago natives form “Bin Laden Blowin’ Up,” better known by the acronym BBU.

The group’s surprise hit “Chi Don’t Dance” pays homage to both juke music and the dance form that has evolved with it—an equally fast-paced combination of steps and upper body shaking. This is footwork, often referred to by Chicago natives as juking. Footwork isn’t new to Chicago, but thanks to recent exposure by BBU and other Chicago talent, juke culture could soon be getting mainstream attention. At the forefront of this will be a generation of high schoolers, who are bringing fresh energy to the music and steps. Read the rest of this entry »

Juan and Jonathan Zaragoza in their restaurant (Ron Kaplan)

Once in a while, you run across a little gem of a family restaurant that treats its patrons like family. Birrieria Zaragoza is that kind of restaurant, and the first time I visited, I had a hard time believing that they hadn’t confused me for a regular. On my second visit, I was one. Read the rest of this entry »

(courtesy of Taylor Mallory)

“Why not put food and entertainment all under one bun?” Taylor Mallory asks, reciting the slogan of his new food and music webshow, “Music Burger.” Wearing a smart sport jacket and his signature black baseball cap backwards, Mallory doesn’t look stressed, but the musician and teacher has a lot on his plate. Read the rest of this entry »

(courtesy of Court Theatre)

Though only two actors command the stage and the set consists of little more than chairs and a backdrop, Court Theatre’s production of “Sizwe Banzi Is Dead” is filled with an energy and charm that belies its spartan setup. Deftly directed by Ron OJ Parson, the play is served well by the intimate nature of the Abelson Auditorium. Although more obscure and seemingly dated than other work by Athol Fugard (best known for “Tsotsi,” which was made into an Academy-Award winning film), “Sizwe” carries underlying themes of alienation and identity that move the piece beyond its 1970s South African setting. Read the rest of this entry »

(courtesy of David Moss)

David Moss is a self-described “extreme vocalist.” In his bizarre, entrancing performances, he babbles and sings in invented languages, his commanding but playful use of his voice leaving audiences speechless. This Saturday, at the University of Chicago’s Bond Chapel, Moss will premiere his latest composition, “Hyperglyphyx.” Read the rest of this entry »