Jaime Davidovich. “The Live! Show,” 1980
Argentinian artist Jaime Davidovich moved to a New York teeming with ideas, conversations and possibilities during the 1960s and seventies, when it was gritty, dangerous and artists could afford a building in SoHo. Whereas Gordon Matta-Clark, Donald Judd and the Judson Dance Theater give the period its experimental flavor, Davidovich’s pioneering efforts in artist-run public television never received recognition like abstract video artists Stan Brackhage or Paul Sharits. Read the rest of this entry »
Alexandria Eregbu. “Zion,” 2015
drywall, track spikes
This joint exhibition of new works by recent SAIC graduates Alexandria Eregbu and Alfredo Salazar-Caro is a deft combination of divergent practices fused at a fertile point of departure. As the exhibition title implies, movement begot by conflict and political turmoil is the underlying theme of the work on hand and sets the stage for interpretation. Although each artist draws from their own backgrounds—Salazar-Caro addresses immigration and the United States-Mexico border while Eregbu seizes on a constellation of issues touching on the legacy of slavery, the rise of Boko Haram and stereotypes of African athleticism—the works appear contiguously in the gallery with a rhythmic harmony that unites the sculpture and video (and video game) therein. Visual continuities set side-by-side link Salazar-Caro’s “From Space There Are No Borders,” a vinyl printout of a satellite image of the United States-Mexico border hung from floor to ceiling, with Eregbu’s “Zion,” an oblong slab of drywall set upright against the street-facing window bank covered in a pattern of track shoe spikes. Together the formal beauty of the shiny, textured pattern of spikes and the colorful composition of digitally stitched satellite pictures belie the sinister implications of violence and exclusion folded carefully into these works. Read the rest of this entry »
Nate Young. Installation view of “Untitled (Pulpit No. 1),” 2014, and “Untitled (Altar No. 1),” 2015
By Matt Morris
Is art that appears to be “about art” ever only limited to that scope of investigation? I’d say it’s doubtful, mostly because mechanisms of power reproduce themselves throughout social institutions, so to reflect upon the constitutive components of an artistic medium (as well as its historical and contemporary contexts) possesses at least the potential of a transferrable method by which one might fashion new freedoms—not through a rebellion from upheld traditional forms but through critical relationships to them. The monochrome continues to do this. Distilled to an uninterrupted plane, color, texture, scale and the tools for applying material (all usually in some way present in most artworks) are amplified, inviting investigation into the parts that comprise the art. In the best of cases, consideration of the conditions of display is inspired as well. The monochrome as a form also holds up under projections: historically used for such diverse conceptual conceits as Suprematism, color field painting, the “radical painting group,” and most recently one of several working modes bizarrely attributed by Ken Johnson to “soccer mom” aesthetics. A century after Kazimir Malevich painted his canvas “Black Square” in 1915, artists continue figuring out how to take apart the language of art-making so that the parsed vocabulary can speak to the power of the entire system. Read the rest of this entry »
Nick Bastis. “When you don’t find what you’re looking for, sleep (Gemini Bauce),” 2015
vinyl padding, Helix aspersa snails
Nick Bastis stokes and redirects the familiar to generate synaptic points of overlap that hint at subversion and untapped latent potential that extend between objects, architecture and the viewer’s body. The vastness of space between objects in this exhibition is symbolic of the immaterial intellectual labor that produced these variations. Read the rest of this entry »
Ten x Ten Preview 2013
The 2015 round of Ten x Ten collaborations between musicians and visual artists will start with a kickoff event this Sunday, February 8. Under the curatorial supervision of three diverse Chicago organizations—Elastic Arts, Homeroom and Spudnik Press—this fourth iteration of Ten x Ten has grown into four events over the next eight months hosted at several venues: Spudnik Press Cooperative, Constellation and Elastic Arts. It’s a definite scaling up from past years, which consisted of only one event. With Elastic Arts Foundation as guest curators—which includes saxophonist Dave Rempis and composer Paul Giallorenzo—the 2015 project highlights jazz and probes how artists working across different media interpret improvisation. The series organizers musician and visual artist Jordan Martins with bassoonist and composer Katherine Young will start this cycle’s inaugural event with a free lecture addressing improvisation and the use of visual symbols outside the boundaries of traditional music notation. About the project, Martins writes on his personal website, “I‘m pleased to be participating in this event, which is a partnership with some of my favorite Chicago powerhouses.” Read the rest of this entry »
Carrie Schneider. “Burning House (March, sunset),” 2011,
Our historically brief presence on this earth is owed to a fact of geologic consent. Time, heat and pressure, the primordial forces that shape our world, have, for the past 250,000 years, granted us a reprieve from the destructive dance that constantly forms and renews this planet. “Lands End” reveals how humankind has taken up where these tectonic forces have left off.
Curated by Zach Cahill and Katherine Harvath, works by thirteen artists variously envision the contemporary landscape as contested political terrain, a site of environmental degradation, the source of precious commodities we lust after, and a place of mystery, fear and wonder. In all of the works on display, time is the underlying element; either we have too much of it, or not nearly enough. Read the rest of this entry »
Harun Farocki. “War at a Distance” (still), 2003, video, 54 min.
Balanced between informative, terrifying and hypnotizing, Trevor Paglen’s large format stills and Harun Farocki’s videos expose arcane arenas of knowledge within the realm of armed-forces operations with imagery that emphasizes the marriage of human and machine vision.
Paglen is invested in revealing our current historical condition, the “bureaucratic sublime,” through exposing covert US satellites, drones over the Nevada desert, concealed military bases, and contractual documents from private aeronautical companies that attest to persistent governmental subterfuge. Landscapes and skies of striking beauty point abstractly to military surveillance. A tiny speck of drone shares the light of the sun with the immense moon in “Dead Military Satellite (DMSP 5D-F11) Near the Disk of the Moon,” 2010. Other satellites are indicated by a contrast of orbital direction in time-lapses of celestial stars and stripes. Paglen also turns the telescope earthwards. “Canyon Hangars and Unidentified Vehicle; Tonopah Test Range, NV; Distance Approx. 18 miles; 12:45pm, 2006” is photographed using a telescopic lens from eighteen miles away. Far off in the desert, the light waves captured by the camera are further distorted by heat, creating a painterly image that conveys not only an inability to accurately apprehend, but suggests a location of imagination, a site for projecting impressions of power or fear. Read the rest of this entry »
Documentation from REVIVAL 2013
Tomorrow night is the start of “REVIVAL 2015: Source Evolution,” four evenings of interactive performance experience at the Jay Pritzker Pavilion Stage at Millennium Park, located at 201 East Randolph as part of the Chicago Department of Cultural Affairs and Special Events’ (DCASE) OnEdge performance series. REVIVAL has received a two-week residency at the Pavilion during which collaborators Eric Hoff and Jesse Young present a line of exploration for their artists and attendees to consider: “We can go back home. Can we go forward home?” Read the rest of this entry »
Moving Image artist and filmmaker, Jennifer Reeder
Earlier this month, Creative Capital (CC) announced the forty-six 2015 awardees in the categories of Moving Image and Visual Arts, two of which are Chicago-based artists: filmmaker Jennifer Reeder and visual artist Maria Gaspar. The selected artists were chosen out of a countrywide pool consisting of more than 3,700 proposals. Each funded project receives up to $50,000 in direct funding with the addition of CC’s career-development services that the artists receive at no cost to them, bringing their 2015 investment total to more than $4,370,000. Ruby Lerner, CC’s executive director, says about this year’s awardees, “This is one of our most diverse rosters ever—the range in form and subject matter is thrilling.” Read the rest of this entry »
In the crux of our present-day political and social troubles, where food famine exists all around us and threats loom in the air over something as common as a controversial American movie, it isn’t farfetched to wish for a utopia. Here is your escape. Gallery concept Lion VS Gorilla (LVG) has partnered with the Hairpin Arts Center for “Crystal Palaces in Cockaigne,” an art show and mini-exposition on utopias centered on the medieval myth of Cockaigne, an ideal land of endless ease, hedonism, health and luxury. For those who, like myself, hadn’t yet heard about Cockaigne, it is a land where it rains cheese and roasted pigs saunter by with cleavers in their back among other fascinating occurrences. Read the rest of this entry »