“It is Jaworska’s sculptures, however, which most eloquently translate the construct’s tongue, set within a luxurious space evoking a bistre jewelry box, skeletal elements in pragmatic black apparently lifted directly from a sketchbook … Our noble, supplicant towering beasts are revealed for what they truly are—massive but subservient chevaux de frise against the void—in “Monument for Them,” which puts a beast on its knees for nothing but a charmingly simple salutation.”
“So you’ve got the target, and guys get lined up to play; usually you set a number of points, like 10. If you’re the first guy to the point total, that’s it, you win. Then everyone else is playing to determine who is last. That guy will have to adhere to the big bet, like some coffee or deserts or push-ups. You also get prop bets on the side: let’s say the winner has already won, and you and I are just sort of in the middle of the pack. I can look at you and be like “I bet you I get one point higher than you. I’ll bet you a honey bun.” Then we do it, straight up. Whether we win or lose overall, we still have our bet.
The thing to realize about the gambling is that on the inside, everything has value. If you have money, you can gamble money. Or you can gamble food or beverages from the vending machines. Honey buns and fucking Coca-Cola are primetime items. Coffee? Coffee is fucking money. If you have coffee when the commissary is out? Man, you can run a whole fucking block off of coffee. And if you were somehow able to smuggle in cigarettes? You’re King Shit and you could gamble whatever the hell you want.”
“The performance that the Chicago-based singer created to accompany her forthcoming album, Carbon Copy, strips away so much of the magic—the pre-show planning, practicing, programming—which allows artists to effortlessly present whatever image of themselves they choose to their fans. In eschewing this readymade mentality, Kairytė not only strips down her own highly cultivated image—from her boots to her eyebrows, from releasing music on tapes to music videos featuring Grotowski-influenced improvisational dance—but strikes at technology’s impact on how easy it has become to surround one’s self with nearly unlimited curated shades.
“It’s a very raw portrayal of somebody being on the computer,” Kairytė says. “You see everything. You see me type in my password on my actual computer that I use in everyday life. And I didn’t realize this until I did it for the first time: A laptop is something that is so personal, and such a secret, such a mystery, filled with personal history, filled with personal discomforts and securities, like diary entries in the word processor… it’s throbbing with a lot.””