Paul Chan & Close Proximity

Paul Chan's talk, held at Hunter College's Lang Recital Hall last Friday, was an informal event led by his friend and former Bard-mate, Jennifer Hayashida. Though the conversation was marked by open-ended, broad questions that bore almost no relevance to Chan's practice or career, the conversation was tolerable due to his easy manner, openness, and modesty.

He had an easy answer for everything, delivered through carefully chosen words and in a pleasantly soft and unassuming voice. He wasn't pedantic, despite his in-depth references to Henry Darger and Charles Fourier, the collective sources of inspiration for his video installation, Happiness (Finally) After 35,000 Years of Civilization.

He spoke very elaborately about his recent trip to New Orleans, where last fall he successfully staged Samuel Beckett's Waiting for Godot, New Orleans style. The project was co-produced by Creative Time and other supporters that guided him along a journey of artistic self-discovery and impromptu production. He meaningfully embraced New Orleans -- its culture and people -- by offering to teach at local colleges, refusing pay and insisting that his classes were open to students enrolled in different schools. He had other stories, too, all better told in his voice over mine.

Today I visited the third floor of the New Museum, where his 7 Lights series is on view. I was effectively blown away.

I'm tempted to outfit our apartment in Chan-inspired projections, though probably couldn't come close to his eloquent use of space -- floor, ceiling, wall edges -- nor his balanced placement of shapes (a softer take on Gorey) and timed movements. In addition to the projections are various works on paper that incorporate charcoal, Styrofoam, and music sheets, all sharing the same shadowy contrast as the projections.

On a separate note, it's feeling very spring-y and art-full in New York City. How do I know this? Two nights in a row, Chuck Close and I attended the same event. Love it!