Memory Palace, by Sug

Memory Palace

by Sug

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	1.	Beautiful Day 04:44
	2.	Elana's Cube 03:24
	3.	Dream House 04:55
	4.	Lindsey's Blob 01:49
	5.	Sierra Plat 05:39
	6.	Untitled (at Kim's 1) 00:50
	7.	Untitled (at Kim's 2) 01:27
	8.	Untitled (at Kim's 3) 01:38
	9.	Untitled (at Kim's 4) 00:36
	10.	Untitled (at Kim's 5) 01:57
	11.	Untitled (at Kim's 6) 00:21

about

In summer 2018, Nina Wexelblatt curated a show at the Circle Contemporary gallery, run by Arts of Life in Chicago. I was invited to to perform at the show's closing party and wrote a set of music engaging with specific pieces in the show. The party never happened. These pieces are now presented in conversation with that show for the first time.

All proceeds from this album will be donated to Arts of Life in Chicago. Per their website, "Arts of Life advances the creative arts community by providing artists with intellectual and developmental disabilities a collective space to expand their practice and strengthen their leadership."

credits

released March 20, 2020

Music composed, recorded, and mixed by Mike Sugarman.

Curation by Nina Wexelblatt at Arts of Life.
www.ninarrose.online

from artsoflife.org/events/memory-palace/:

Elana Adler, Guy Conners, Lindsey Dorr-Niro, Óscar I. González Díaz, Thomas Kong, Alysha Kostelny, and Sara Ludy.

Curated by:
Nina Wexelblatt

“I was looking at all of the things and trying to notice connections between them. Why this table, why now? Why these things and not others?”
-Alexandra Kleeman, Fairy Tale

To remember several things at once, turn each into an object and visualize arranging it carefully around an interior of your choosing. This is your memory palace. Anytime you need to recall an item, wander back through the palace. It should be right where you left it: information in a mental blueprint. But you might find that things congeal strangely in the set design of the mind. Coordinates warp and contract, matter changes properties, references dissolve.

This exhibition presents subconscious architectures and objects at the edge of familiarity. Inverted, fragmented, or at an odd angle, these works free us to forget the slick surfaces of easy identification, utility, or commodification. Turned over like tumbled rocks, their woozy edges expose what’s underneath: from the interior décor of dreams to the pure forms hiding inside the scraps of consumer culture.

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