MOCAD

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Despite a tremendous weekend that included Lightning Love and The Daredevil Christopher Wright in Ypsilanti, the Hounds Below at the Lager House, a live conjunto band and dancing at the Blue Diamond, a lot of Blatz, Modelo and PBR and a lot of reading,  all of which should have been plenty of fodder, I’ve been coming down with a little sniffle of writer’s block this week, professionally, bloggingly, and otherwise.

But while I’m convalescing, here are some things you might like to know:

The Night Train now booked (on your FACE)

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Old Detroit footage at MOCAD

Films from the Prelinger Archives: Lost Landscapes of Detroit is tomorrow night at MOCAD, so get out your shovel and some tough winter boots (no, I still haven’t bought any) and resist the temptation of your warm couch. This should be great. From the press release:

… An eclectic montage of rediscovered and rarely-seen archival film clips exhibiting life; cityscapes, labor and leisure from ‘vanishing Detroit’, as captured by amateurs, newsreel cameramen and industrial filmmakers from the 1920’s to the 1960’s …

“How we remember and record the past reveals much about how we address the future” points out archivist Rick Prelinger, who will be on hand to preface the screening with a brief talk on the value of ephemeral films, on the changing nature of historical memory, and what consequences will arise from the emerging massive matrix of personal records.

You know what’s great? The Prelinger Archives are available for free on the Internet Archive under a Creative Commons License.

Bottled Monsters

If you like Letters of Note, you may or may not love A Repository for Bottled Monsters, the blog of the National Museum of Health and Medicine in Washington, D.C.

Among the many papers published near-daily on the blog are letters home from army surgeons, correspondence from the Surgeon General’s office, thank-yous for donations, inventories both routine and outlandish and requests for authorization to purchase artifacts. Some of this stuff is tedious but a lot of it is absurd and delightful, like this 1878 letter from Francis Atkins, Army Surgeon, to the Surgeon General:

Sir

I have the honor to enclose copy of receipt issued this day to me by Post Quartermaster for one box addressed to the Army Medical Museum.

The contents are,

1)      One Golden Eagle – shot near here Dec 2, 1877. I have roughly dressed it so as to leave the plumage on the skeleton, that the curator may use it as preferred, applying salt or alum.

2)      One skull & bal. [balance] of skeleton of a male Raccoon found dead here Dec 2, 1877.

3)      I also send in behalf of Asst. Surg. W.E. Whitehead the skin & extremities of one whooping crane (I believe) shot near here in fall of 1877 – arsenic and Plaster of Paris were used.

Once in a while this blog also publishes freaky medical photography, intriguing books and fun facts, like: did you know that Alexander Graham Bell wrote a book about eugenics?

I have Suzanne Fischer, Public Historian, to thank for this fabulous discovery.

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MOCAD opened a new show on Friday — two solo exhibitions by two Scandinavians that occupy the raw concrete gallery space (yes, we know it used to be an auto dealership) with an outstretching emptiness, blanched of color,  goverened by shape and movement, flickers of shadow and whiteness, mechanical noises and unpeopled silences.

Except, of course, the opening was crowded with people and people-made sounds, and showcased a rowdy family of petulant robots (by Apetechnology) with huge lightbulbs for heads and swathed in conical rubber capes, rocking on their wheels, hollering at the crowd and flashing strobes in everyone’s bewildered, delightedly terrified faces. And the night’s musical guest, Caroliner — a group of humans, presumably, underneath the puppets, future-tribal headpieces and layer upon layer of day-glo — happened to be a very loud group of (neon-bedecked, glow-in-the-dark) humans.

caroliner

Caroliner

Under the racket of the performance art, Alexander Gutke’s slide and video installations reminded me of a world that everyone had to flee on rather short notice, never to return, leaving their projectors and slide carousels running. Now they only play jammed-up loops of dust and burning cellulose,  animations of physics and photographs of machines.

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Alexander Gutke, Lighthouse, 2006. Kodak carousel slide projector, 81 slides, timer, stand Ed. 4 + AP
Courtesy Galerija Gregor Podnar, Berlin

Anne Lislegaard: 2062 is a more straightforward (at least in concept) interpretation of the future as seen through a telescope of science fictions — specifically, those of Stanley Kubrick (or Arthur C. Clarke?), Ursula K. LeGuin, J.G. Ballard, Spielberg’s Close Encounters of the Third Kind and others.

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Anne Lislegaard, The Left Hand of Darkness, 2008. The Left Hand of Darkness. 2008. Three-channel video installation. Courtesy of the artist and Murray Guy, New York.

We found it harder to concentrate on Lislegaard’s denser installation of jutting, black-and-white 3D animations (projected on imposing tilted screens) and her interplay of time, sound, motion and space over the din of the party, so we left a closer look for a future visit. But I was tantalized by the sense of transportation the exhibit imparted – and in particular, by one pitch-dark, isolated, set-back room in which the only illumination comes from behind a tall black screen.

I was satisfied to let that room be, and made myself comfortable in the enveloping darkness (and the only quiet place in the Museum), until my partner beckoned me closer to the light.

“Sometimes you have to look under the rocks,” he said. Behind the panel is a sassy twist of neon handwriting that spells out, simply, science fiction.

Alexander Gutke and Anne Lislegaard: 2062  runs through December 27. For more information on the exhibitions and a complete list of programs and events, visit MOCAD’s website.

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