Evan Fusco

Evan Fusco (they/them) is a lecturer (that is lecturer, artist, writer, educator, publisher, host, etc.) based in Chicago, IL. They received a BFA in 2016 and an MFA in 2019 and have taken various classes since then including with the New Arts School Modality. They are a faculty and AICWU union member at the School of the Art Institute of Chicago. Along with this, they run General Things Press and host the reading series General Readings. Pieces of theirs have been published, performed, contained, or shown in and/or at: Other Forms, MOCA Cleveland, Apparatus Projects, The Chicago Art Book Fair, Plates Journal, Carrol University, Prompt Press, Cleveland Museum of Art, and the Joan Flasch Artist Book Collection. Along with teaching at SAIC they are currently teaching a free class at Schoolhouse in Chicago, IL, are working on various writings which will come together as a manuscript tentatively titled Frankenstein, or the Function of Reason, and will be presenting new sculptures and a lecture performance at the Garfield Park Arts Center alongside Lemmy Ya’akova as well as curating various artists into the programming.

Timothy Morton: …to be a thing at all is to have been hurt. Harry Dodge’s paraphrase: …to be a thing is to have been wounded. My paraphrase of a paraphrase: to be a thing at all is to be with and to exhaust. To state a verbose practice is to fail it and never allow it to exhaust. I think often of Fred Moten and Stefano Harney’s conception of study, and in the practice consider its relational implications. Performances built towards productive failures and exigencies of the moment. A kind of autistic thingliness as I have begun to describe it. Disunification of a self following Aria Dean’s understandings of Robert Morris as a kind of fool, kind of dandy. Gregg Bordowitz stating that, “Nothing is as it appears to be and everything is significant.” A montage of a statement to hold space for the lecture-performances, plays, sculptures, essays, no longer here and yet to come in the practice. Thinking towards what constitutes a real, and how to grasp its process in works that prioritize collapse, sabotage, obtuseness in order to exist within what Jane Bennett would call thing-power in order to find what Erin Manning would call minor gestures.