David Hartt. “Interval V,” 2014
David Hartt’s “Interval” is a visually stunning multimedia installation of photography, video, sculpture and sound that approximates distances—physical, temporal, historical and sonic—to examine uneven development among geographic and economic peripheries and the global forces that centralize capital accumulation. Set to a haunting score and evocatively documented in high-definition video and large-format photographs, Hartt’s camera records everyday moments in Sakhalin Island—a historically contested territory between mainland Russia and Japan—and the city of Whitehorse, the frontier capital of the Yukon Territory in Canada. With an ambivalent stillness that is neither voyeuristic nor detached, the videos and photographs portray these places as simultaneously restless and static as they are caught between an unhappy present and an uncertain future. Read the rest of this entry »
Jillian Mayer. Still from “Touchers,” 2015
single channel video, 5:39 minutes, unique installation, dimensions variable
“Touchers” at Aspect/Ratio and Jillian Mayer’s first solo exhibition in Chicago, highlights the loneliness of seeking affection through a cold screen, the impossibility of human touch across monitors. The artist herself is present in each piece, her hands seen within photosensitive prints on plexiglass and fabric in the front of the gallery, while her image and words exist within the central piece, a video installation in the darkened back room. Read the rest of this entry »
Keren Cytter. “Video Art Manual,” 2011. Video still.
A disorienting yet familiar feeling hovers over Keren Cytter’s exhibition at the Museum of Contemporary Art. Cytter, born in 1977, creates films, though to call her a filmmaker seems inadequate. Nine of Cytter’s films on view at the MCA conjure conventional narratives telling short stories of the human condition—love, heartbreak, murder, revenge.
Often filmed in Cytter’s own small apartment, actors speak in fractured, emotionless yet frank dialogue and rapidly exchange roles, at times switching languages and directly addressing the camera. Scenes repeat and loop back on themselves, masterfully overlaid with kitschy low-budget editing effects which force the viewer’s focus equally on how narrative is assembled as on the plot itself. Read the rest of this entry »
Luftwerk’s “FLOW” installation at Silent Funny
video projected onto water and interior architecture
photo by Marc Perlish
For their current installations at budding arts space Silent Funny in West Humboldt Park, Luftwerk—the collaborative comprised of Petra Bachmaier and Sean Gallero—were inspired by how light travels through water to create visceral connections for viewers, working with excerpts from previous outdoor projects reimagined for the space’s cavernous interior.
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Philip Hartigan. “Diorama,”
paper, cardboard, clay, acrylic, paper-litho transfers, electric motors.
Photo by Adam Liam Rose
That coal is extracted from veins speaks to its intractable relationship with modern civilization, of which it provided for no small part of the modernization; it is the precious dead resource, requisite for (what we now deem to be) life, and one imagines the jugular running within the rugose hillside, a lacing through tellurian viscera, the ancient refuse of violent nascence and convection-driven tumult, a black line drawn hard through bone and hewed through blood and running right up the sides into the head of Philip Hartigan’s grandfather. Corrugated as his environs, the head crowns a dioramic vignette, in one of Corner’s welcoming windows, which comprises the sculptural component of Hartigan’s installation concerning the coal running through his own veins. Read the rest of this entry »
Luis Sahagun. “Imprints of a Broken Lover” 2015
chain and fabric on concrete
Appropriately titled “Escombros” or “rubble,” what Luis Sahagun’s new show at Kruger Gallery lacks in formal elegance, it effectively delivers in expressive force. Born in Guadalajara, Mexico, this Chicago-based artist conjures a remarkable variety of sculptural form from the damaged and discarded. Wood, metal, plaster, concrete and copious amounts of cardboard are fused into ungainly objects that suggest their origin as urban detritus while obliquely pointing to Sahagun’s experiences as an undocumented immigrant. Read the rest of this entry »
Angharad Davies. “Cast I and Cast II (hedge),” 2015
digital print, gold leaf, gouache mounted on board
“When I first split myself in two,” the first line of the central video projection, is a statement that resonates throughout Angharad Davies’ multimedia installation built from reproductions of images, depicting decontextualized objects and their mirror-selves.
Several series of paintings and inkjet prints mirror original photographs with modifications that serve to emphasize their mode of making and their alteration. Index cards mounted on wood appear to be postcards of paintings of used soaps. A pair of severely sculpted bushes are turned on end and mounted on the wall—one is a printed photograph, and the other a gilded shadowy shape. Echoing these captured photographs and constructed shapes are photographs of a Chinese vase with brass volutes. The photographs are altered through adding pen to a Xeroxed copy, another adornment for these ancient vases that were altered by the addition of gilt handles in seventeenth-century France before being brought to the Getty. Read the rest of this entry »
Lori Felker. “A Trip to Always Falls,” 2015,
video projection and headphones, seventeen-minute loop
“Extraordinary Effort, Spectacular Failure” declares its ethos with clarity and directness in advance of any art. There is no irony in this claim nor in the work, a diverse presentation of mixed media that represents the culmination of six artists’ recent Chicago Artists Coalition HATCH residencies. Curated by HATCH resident Erin Toale, the exhibition meditates on David Foster Wallace’s notion of the “anti-rebel,” an imagined figure whose earnest and dogged effort, Foster suggests, might be the much needed antidote to all that is too cool in today’s hip culture. Accordingly, the artists here are visibly struggling, not with the quest of “making it” but with questions of practice and identity, among many others. Read the rest of this entry »
Meg Duguid standing with her installation “Supercomputer” at Slow in Pilsen.
After a dreary trek through Pilsen’s sludge-laden sidewalks, I’m happy to see Meg Duguid waving enthusiastically to me from inside the fogged windows of Slow. Paul, the gallery’s director, stands to her left and Yesterday, the gallery’s canine mascot, faithfully on her right.
On an evening just as dreary in 2005, Duguid entered a tiny bookshop in Brooklyn. Browsing for nothing but a way to kill some time between her side jobs and studies, she happened across a book that contained a screenplay James Agee wrote for Charlie Chaplin in 1947. Inspired and intrigued, she sent an unsolicited letter to the Agee foundation, requesting to bring to life the script that had—for whatever reason—remained unproduced. The foundation’s answer was no, and Duguid moved on.
Flashing forward in time and back to the Midwest, the backsides of fifteen stacked televisions rise to greet me as I enter Slow. Large blue and orange extension cords twist and tangle their way toward electrical outlets on either side of the gallery, powering the luminescent glow coming from the anterior of the electrical blockade. The piece is silent, save for a high-pitched drone coming from the circuitries. Read the rest of this entry »
Jordi Colomer. “Anarchitekton (Barcelona, Bucharest, Brasilia, Osaka),” 2002–04
4 single channel video projection, silent
Barcelona: 5 min; Bucharest: 3 min; Brasilia: 3 min 49 sec; Osaka: 1 min 49 sec
Updating Barry Schwabsky’s 2012 label “retromodernism,” Colby Chamberlain coined the term “domestic modernism” to describe Margaret Lee’s recent installation of facsimiles depicting twentieth-century art and design icons. Noting that, “apparently Brancusi duplicates are trending,” Chamberlain compared Lee’s model of Brancusi’s “Endless Column” to another shown by Josephine Meckseper in 2013, highlighting their affinity in evoking department store displays. Now featured in the group show “MetaModern” at the Krannert Museum, William Cordova’s tribute to the Brancusi monument—a column of lampshades inverted in an alternating rhythm and lit from within—similarly evokes a retail aura. Iñigo Manglano-Ovalle also replicates a Brancusi phallus, but with a more aeronautical thrust; his nine-foot “Bird in Space” is fabricated from carbon fiber, Kevlar and steel, and seems ready to blow a Sputnik out of the sky. Read the rest of this entry »