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Riding high on the endless potentiality of beloved book communities, I am ushered into the rare book room. It is a sparkling treasury of retinal stimulation. Standing in the midst of the collection is overwhelming. The books sit in temperature-controlled glass cabinets, a full rainbow spectrum of discoloring aged leather.

I think it is good idea to understand the current Havana Biennial according to cold war jargon. Our paranoid society, with the public sphere almost under complete control by an ever-diversified surveillance system, is a direct consequence of the Cold War and all its infinite gadgets.  So maybe art has the ability to explain why, if ideology is dead, all of its byproducts are still very alive.

Ours is a period of dislocation. Not of absence, not of presence, but a period of time characterized by the dull sucking thwohk of a ball joint being pulled from its socket. It is in the vacant space that trauma has opened up that we can  function. We are in excruciating pain, sure, but the dislocating moment is one of supreme flexibility.

The four artists discussed here who navigate within this port of call have unique approaches to addressing cultural logistics. This is visualized in several contexts including boating, illegal radio, the gray areas of global capitalism, and the relationship between fetish objects of vastly different cultures.

Trapped in these mutable surfaces are the traces left behind by an imaginary track meet that has taken place in another domain. We are prompted to question the manifestation of the ergonomic trace in daily life.

If all the strawberries in the world made up only 100 strawberries, then each of those strawberries would weigh 44,092.452 U.S. tons.

Given that the total world production of strawberries for one year is around 4,409,245.243 U.S. tons.

And the average weight of a single strawberry is 2.59 x 10-5 U.S. tons.

So each of the 100 big strawberries would be the equivalent of 1.70 x 1011 average strawberries.

Feelings is the fourth exhibition at the Michael Jon Gallery, a small space in the Design District run by recent Chicago transplant Michael Radziewicz. Consisting of three emerging LA artists, the exhibition shares variations of conceptual and aesthetic ties rooted in the appropriation techniques of the Pictures Generation among others, and an interest in materiality.