Lou Mallozzi is a Chicago-based artist known primarily for his work in sound, often with a focus on dismembering and reconstituting language, gesture, and signification. His work includes performances, installations, music works, recordings, and radio works. In addition, he has a visual art practice that includes drawing and other media. He has performed and exhibited in the U.S. and Europe, including projects at the Museum of Contemporary Art Chicago, the Chicago Cultural Center, the Arts Club in Chicago, the Italian Cultural Institute and Italian Pavilion at the Venice Biennale, the Fort Wayne Museum of Art, the Grunwald Gallery at Indiana University Bloomington, Experimental Intermedia New York, "Le Cri du Patchwork" on Radio France, Ausland Berlin, Podewil Berlin, TUBE Audio Art Series Munich, and the Radiorevolten Festival Halle. In addition to his solo works, Mallozzi often collaborates with artists, filmmakers and musicians. These have included Sandra Binion, Michael Vorfeld, Alessandro Bosetti, Michael Zerang, Frédéric Moffet, Antonia Contro, Jacques Demierre, Vincent Barras, Fred Lonberg-Holm, Charlotte Hug, Jaap Blonk, Vincent Raude, and many others. He has received support for his work that includes several fellowships from the Illinois Arts Council, and artist residencies through the Chicago-Lucerne Sister Cities Program, the Rockefeller Foundation Bellagio Study Center, Ragdale Foundation, and Spritzenhaus Hamburg. He is on the faculty of the Sound Department of the School of the Art Institute of Chicago, and is co-founder and former executive director of Experimental Sound Studio.

Sunday, October 26, 2014

Screenplay at SAIC

I was included in the School of the Art Institute of Chicago's Faculty Projects exhibition at the school's Sullivan Galleries, 26 August - 8 October 2014.

This exhibition, curated by Morgan Walsh, gave me an opportunity to show the complete version of Screenplay.  This includes the two-channel sound installation Screenplay: one and one, originally produced in 2010, and an accompanying set of 155 drawings in two grids, Screenplay one: MS and Screenplay one: LS, completed in 2014. There is a booklet about the work with an essay by Seth Kim-Cohen. 

The sound installation is a 106-minute loop of me describing, in real time, two feature-length movies that I'm watching. The drawings are made separately in a similar fashion, drawing as quickly and completely as (im-)possible everything I see as I watch the same two films.

Special thanks to Milad Mozari, Peter Speer, Tom Van Eynde, Sandra Binion, Ethan Rose, Joseph Clayton Mills, and the Illinois Arts Council.

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