Thoughts on Curating: Michael Garcia (Pentagon Gallery)

By Jeriah Hildwine

Michael Garcia is the Founder, Co-Owner, and Curator of Pentagon Gallery, an apartment gallery formerly located in Pilsen but recently relocated to Logan Square.  Garcia co-curated The Level Eater at Co-Prosperity Sphere in Bridgeport, along with its proprietor, Ed Marszewski.  I participated in The Level Eater, exhibiting Dungeons-and-Dragons-themed artworks and artifacts, as well as creating a portrait of Garcia both as himself and as his character in the game.  I’ve also regularly attended the opening receptions at Pentagon, and meet Garcia every Sunday night for our ongoing D&D campaign (run by photographer and fellow Flesh-and-Bone participant Jesse Avina.)  I asked Michael to talk to me about his experiences running Pentagon, and his thoughts on curating in general.

 

What is curating, to you? Do you have goals or a mission statement or a manifesto in mind, or do you just sort of find stuff you like and set it up so it looks good?

Curating for me is the idea that I compile work that reflects my own interests, thoughts and ideas. I formulate shows that reflect and create an understanding…and draw parallels through medium, subject and visualization. My goal is bring together like minds and ideas to develop a community that is large or small so artists, viewers and galleries become more aware of each other. I like to see myself creating more connections with in the Chicago art world on ideas that I like and enjoy.

How do you find artists whose work you want to show? Is it mostly friends and people you know, or do you see things in other shows and say, “Hey, I’d like to give that artist a show,” or is it based on submissions? Also, speaking of submissions, I’m always curious: how many submissions do you get, and are any of them any good?

I look for artists that I have seen in shows, know personally and have read about in publication. I feel like if any artist makes work, they should never lose the chance to showcase their art ever. I don’t see Pentagon as a limited space because it is an apartment gallery but I see it as an alternative venue that artists can interact with. I have had few issues with choosing artists or getting them to be a part of Pentagon; I think the shows that I curate and get submitted here always have substance and place. I am glad when people want to be a part of it and look at them as more than artists, [I look at them] as people.  I get submissions every other month, and most of them I agree to; very rarely do I feel like I need to say no. Usually those submissions are so far-fetched and completely not agreeing with the space that I respond kindly and say I cannot do it.  I feel like if the artwork is engaging and what I am interested in personally, then I would not want to turn down an opportunity for someone else. I believe people are well aware of what I am interested in and feel comfortable with approaching me on show ideas.  I prefer video, installation, and new media work but still enjoy showing other mediums because if I enjoy them then why not. I think I always have to remember that if I decide on a show then that means I must live with it for a period of time. The idea of living with great artwork makes me more excited than anything else.

 

Garcia’s 2009 self-portrait as a Flash Gordon character

For a while I mostly knew you as Pentagon crew, but then we did Level Eater and Flesh and Bone together at Co-Prosperity Sphere and I got an introduction to your art making process as well, with those big murals you did. Is there any connection between your personal art making practice and your curatorial practice? Do you see the two practices are wholly integrated, pretty separate, or somewhere in between? Is either practice primary for you?

I think there is a huge connection between my practice and my curating.  I think if we look back at past Pentagon shows, there is a large interest in investigating my own work.  I think I use curating as means to justify and inspire my own ideas. If we look at Level Eater and Nemesis (2009) there is a connection of work and ideas still there.  I hope people realize that.  I hope people realize that I am genuinely interested in these things rather then “just investigating.” I investigate things all the time but I try to make the things that are important to me impactful to others.  I think both practices are just as important.  I never feel one is better than the other.  As an artist, I hope that my practice is more important but I see the value in curating.  I see the value in supporting other people. I think of things in relationship. I enjoy being the supporting person because if I am not there, where is there success?  I feel like [when I am] being supportive, my power is greater, that the other person relies on me for joint success.  I always feel like the best artists are the ones that create a community and learn to step back from it. 

What kind of aesthetic decisions are important to you as a curator?  What decisions do you take control of, and what do you leave up to the artists?

I try to leave things to the artist’s makings.  I make sure I pick work that I enjoy and want to be a part of the show but I also let the artist have freedom to make suggestions and bring in new work.  I think in curating there is supposed to be restrictions (OR SOMETHING) but I feel like if I have chosen an artist then I can trust their opinions and ideas.  I do not run a space where I keep a blind eye but I do let for more liberties than most other galleries.  I imagine that is because I don’t try to make money, since technically what I am doing is illegal, correct?

Last question: What does the future hold, both for yourself, and for Pentagon? Got any big plans, or upcoming shows you want to announce? And in the longer-term future, do you think that you’re going to focus more on your own art making practice, more on curating, or try to balance the two? And lastly, is there anything I didn’t ask that you wish I had? If so, feel free to pretend I did, and then answer it.

Pentagon is moving in a new direction and I want to keep going with it; I want to expand on just having one space, I want Pentagon to feel like a collection of ideas rather than a space.  It might disappear for a while or whatever, but it will always be there.  I try to stay consistent but I live in a world of reality and running a gallery is money, which I don’t have much of.  Right now I am working on about 5 shows for the future, each one is completely different. The ones I am most excited about are a sci-fi themed video & film show/ screening, an interesting collection of live sounds performances and another show with installation next month.  Other than that, I try to do other things and explore different ideas.  I am making work still and need to focus on that.  Mostly I have been working at my job and reading a lot lately.  Winters tend to be a time when I hibernate.  I have some artwork I am putting together that involves a lot of the same ideas I have done in the past; it is taking longer than expected due to my winter schedule of doing nothing (haha).  Maybe when I wake up this spring, it will feel like a new dawn and I will be more inspired; that is what usually happens.

 

Jeriah is an artist, educator, writer, and snack enthusiast.  You can see his work at www.jeriahhildwine.com, and read his columns at Art Talk Chicago and Chicago Art Magazine.  Jeriah lives and works in Chicago, with his wife Stephanie Burke.