Work by Robin Juan of HungryMan Gallery, Bill Gross of 65GRAND, Vincent Uribe and Allison Kilberg of LVL3, Kirk Faber of Kirk’s Apartment, Elliot Reed, Erin Nixon and Patrick Bobilin of Noble & Superior Projects.

Noble & Superior Projects is located at 1418 W. Superior St. ONE NIGHT ONLY EXHIBITION, open Friday (tonight) from 6-10pm.

2. By The Time The Focus On We Became They I Was Alone at ACRE Projects

Work by Madeleine Bailey.

ACRE Projects is located at 1913 W 17th St. Reception is Sunday from 4-8pm.

3. Friends Forever: The Legacy of Camp Gay (2001-2005) at Monument 2

A project by Brandon Alvendia with Todd Bailey and Bridgette Buckley.

Monument 2 Gallery is located at 2007 N. Point St. Reception is Saturday from 7-10pm.

4. John Neff Prints Robert Blanchon at GOLDEN

Work by John Neff.

GOLDEN is located at 3319 N. Broadway. Reception is Saturday from 6-9pm.

5. If I Do Nothing Nothing Does at Julius Caesar

Curated by Matt McAuliffe. Work by Matias Faldbakken, Sophie Calle, Joe Smith, Andy Kaufman and Benjamin Bellas.

Julius Caesar is located at 3144 W Carroll Ave, 2G. Reception Sunday from 4-7pm.

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The wall text for Lyons’ MCA show described him as a kind of Jack of All Trades, an artist whose practice “encompasses a diverse range of activities–gardening, DJing, and working collaboratively with other artists–reflecting his interest in the idea that ‘everyone is an artist’ and that everything can constitute an artwork.” Yet Lyons’ MCA show was called, somewhat ironically (and then again, somewhat not), “Abstraction in the 21st Century,” a title that was clearly designed to provoke a certain amount of bemusement and even incredulity on the part of viewers, given the relatively short history of 21st century painting in general. This provocative title was the first thing I asked Caleb about during our written exchange about his show, which was conducted several weeks ago while Lyons was on residency at The Philadelphia Art Hotel (Bad at Sports’ SF correspondent Patricia Maloney also happens to be on residency there this summer). I’m tremendously grateful to him for taking time out of his very busy schedule to answer my questions with such thoughtfulness and care.

Installation view of Caleb J. Lyons' exhibition at the MCA Chicago.

Claudine Ise: “Abstraction in the 21st Century” is a ballsy title for an exhibition – at least for an exhibition by an individual artist at a major contemporary art museum. I really like the way this title appropriates the language of the encyclopedic museum (more specifically, the language that this type of museum would use to introduce its gallery exemplifying Abstraction in art), but here it’s used to frame a solo show by an emerging artist. I am also intrigued by the fact that such a title implies the promise of a representative sampling of artists – which of course it doesn’t. So can you tell me a bit about why you chose this title for your MCA solo exhibition?

Caleb Lyons: Well I do have balls, or a pair of testicles–they were on exhibit in my nude video: The Artist Is The Model: Do It Yourself, Still Life, Amateur Hour, Idiot Box, which was riffing on the ego and vulnerability of the artist, as well as the idea that through our immediate technologies everyone has become a producer, the “artist” has become the “model citizen” for exploitation.

I am interested in the way museums and other institutions feel the need to categorize and define genres for the public. It becomes generic. I use the generic as a catalyst in my own work –– as in, ‘this is what an American abstract painting is supposed to look like’. I wonder why we feel like we need themes so badly. Will we really find it that hard to make connections otherwise? If museums didn’t try so hard to define things, would the public be confused or would the public figure it out for themselves?

The presumptuous title also suggests that the work will be heroic in scale and intention, and I find it funny that the work is very modest, handcrafted and is both abstract and representational. There is no abstraction without representation and no representation without abstraction.

Caleb Lyons. Untitled document, from "Real Pirates."

I think it is a symptom of our time (with best-of lists, and our need to categorize and rate the arts), the idea that abstraction would be surveyed only ten years into the century. The title also attempts to allude to our society’s growing disconnect with reality, and our increasing (as far as I can tell) loss of power and freedom. There is something attractive and deceptive about the anonymity of abstraction. Maybe in such an audacious title for a small solo exhibition some viewers will find the absurdity in genre-defining elsewhere, or maybe they will just think I am a pretentious asshole; either way, I’m happy.

Claudine: Your paintings on view in the MCA exhibition are given the title “Real Pirates.” Each painting within the series is referred to as “Untitled Document” from the Real Pirates series. In your abstract works I see references to, or inflections of, numerous abstract painters such as Robert Motherwell, Frank Stella, even a bit of Jules Olitski and Mary Heilmann here and there. But I’m also interested in the relationship between the term ‘piracy’ as you employ it, and that of appropriation as a tool of aesthetic discourse. Appropriationist strategies are associated with multiple generations of artists in the 20th century alone, each of whom have approached the idea of “appropriation” in different ways. What’s the difference between appropriation and piracy? How do those acts differ and how do you approach the idea of piracy in your own paintings and in the other works in the show?

Caleb J. Lyons. Untitled, from "Real Pirates."

Caleb: When I started these paintings I did not not know I would call the series Real Pirates. I loved that title for something–it was stolen from an exhibition about the history of pirates at Chicago’s Field Museum of Natural History (which I did not see, but I am pretty sure they did not have any real pirates there). At the time I was making the paintings I was referring to them as “casualties”, both for their casual nature, destructiveness, or deadness, and their play on the word ‘causality’ –looking back at history, being surrounded by modernism. I had recently seen the exhibition Oranges and Sardines at the Hammer Museum in Los Angeles, a fantastic show curated by Gary Garrels wherein six contemporary “abstract painters”– Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool each curated a room of work that was deeply influential to them. In Wool’s room he had a later Picasso painting of a pirate (funny enough, one that I can’t seem to find on the internet anywhere). Comparing it and the large abstract Wool painting, it seemed as if Wool was using nearly the same formal composition as the pirate, and it dawned on me, how perfect the content of a pirate was for abstract painting. So beyond stealing from other paintings or gestures, the look of much abstraction is wounded, slipshod, and jury-rigged (originally a nautical term), and you could look at each individual painting as a portrait of a pirate (if you wanted to, but I wouldn’t encourage it).

I do agree that piracy and appropriation have somewhat different uses or conjure different images, but they practically mean the same thing. I prefer the violent and illegal sound of piracy over appropriation, although what I am doing would probably be better understood these days as appropriation. By calling them Real Pirates however, I am pointing to the absurdity and subjectivity governing most copyright laws which use the word liberally. I am bootlegging the language most often used for “theft” of software, television, and film and am applying it to painting. I like to participate in the nonsense of language, and by calling them a real fake (or, because it’s not really piracy its a fake real fake), I get to play this game with language and meaning. I am pirating gestures and styles, not actual works of art (which would be boring and tedious). It is more like having a conversation with all these artists without them knowing about it. It is all intuitive; because of the internet, I am able to see more images in one day than some people will see in an entire lifetime, and as a result I have all these gestures in my mind when I am painting. I don’t sit with my laptop open in my studio, painting what I see. It is only afterwards that I realize some move reminds me of somebody, and I choose to commit to that content in my work instead of trying to ignore it or fight it.

Untitled document, from "Real Pirates," 2009.

Untitled document, from "Real Pirates," 2009.

The exhibition poster was printed (with the show information, and a story by Kathryn Scanlan describing a frustrating experience describing experience) on the MCA’s Felix Gonzalez Torres work, The End, which I collected over a period of time. In a way I pirated Torres’s work for my own advertising needs and gave life to The End. J. Patrick Walsh 3′s work: To My Enemies I Will Ruin You By Leaving My Fingerprints On All Of Your Crimes can be seen as a joke on piracy both for its title and placement atop my painting as well as for its form (a wooden cane).

Claudine: You’re an artist whose practice encompasses many different types of activities which, in turn, produce different results. Not everything you produce as an artist is necessarily an object to be contemplated in the traditional sense. But in the case of a work like “Landscaping (Canyons),” 2010, an installation which was placed in the center of the gallery, it did. This installation contained various ceramic pipes whose bowls were planted with different types of cacti – the type of plants that can survive with minimal care if given the proper conditions. I think this was my favorite piece in the show, because of the way it seemed to bring every other object on view in the gallery together in harmonious relationship. There’s an almost decorative aspect to the way that all of the different types of objects in your show “hung together.” The wall text discussed your interest in Abstract Expressionism’s “relationship to home decor and design” — can you flesh this idea out a bit more for me?

Caleb: Again, I think of the paintings as playing the role of a painting, as a prop-painting would fulfill its part in the background of a motion picture. I enjoy the tension of authenticity and artifice, balancing aesthetic “quality” with the function of decor or design.

There is an inherent censorship in abstraction that reduces content to its essential form, and as such it is a visual relief in our image-ridden world. An interesting thing happens when a stroke is just a stroke; it’s not something to look into anymore, it is something to live around. It becomes a prop for life and architecture. I understand this as one of art’s greatest functions.

Since I was a child I have been drawn to the contradictory cultural space of bad as good, wherein artists intentionally disappoint, baffle or alienate the viewer (not necessarily to shock), or don’t believe in failure, or believe in a conversation rather than a meter of quality.

I think that Landscaping (Canyons) pulls all of these generic and essential qualities together and interacts with the viewer in a familiar, decorative way that is wrongly poetic. The exhibition is a boutique of meaning.

Caleb Lyons. Landscaping (Canyons), 2010.

Claudine: Tell us about the residency you are participating in right now. Are you working on anything specific that you can talk about?

Caleb: The residency is called The Philadelphia Art Hotel and I am working on a few site-specific videos including a remake of Rear Window and a psychic/intuitive, flies-on-shit piece titled “The Source Of Life” for a Drive-In/Bike-In/Walk-In video screening we are presenting in an open lot near the hotel. Kathryn Scanlan is also here with me to work collaboratively on a sculpture project we are calling The Arrangement.

Thanks so much for this virtual chat, Caleb! Here’s the poster for Caleb’s MCA show, referred to above. (Sorry for the blurriness; I think the text is just about readable and my eyes aren’t great).

(Exhibition poster for Caleb J. Lyons, “Abstraction in the 21st Century,” at the MCA Chicago).

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Marginal Waters at GOLDEN in Chicago exhibits 13 of the works in the series by Doug Ischar. The backdrop of Chicago’s own Belmont Rocks, since destroyed, sets the stage for the documentation of gay men in the 1980s.

The first room in the impeccable space presents three large framed photographs. The titles of the images are sterile and indexical, simply numbered. MW 19 (1985), the first piece I confronted, is a portrait of a scattered group of men, sunning on the rocks by the water. Two men are standing close, just of the verge between friendship close and intimately close, and there are men stretched out sunning on towels.  Besides the incredibly dense colors, there is something about all of the photographs that is so captivating; the latent sexual desire rubbing up against the innocence of an afternoon in the sun. The subtle hand on the thigh, the peak of underwear beneath impossibly short shorts, the glint of a nipple ring, or connection between two bodies that speaks to the audacity of a normally closeted culture behaving freely in a public arena, almost like  Sunday In the Park on poppers.

The dual landscape of bodies and the rocks was elegantly captured in MW 22 (1985), a portrait of two men embracing on the ground. The curve of the shoulder, knee, seem to act as an extension of the terrain. Also in this image is a lone can of Miller High Life, just one of the many cultural artifacts that look planted in the compositions. Other images include a Diane Arbus book, a Vanity Fair, walkmans (walkmen?), and many ten speed bicycles. There is a subtle illicit implication to the images, an innuendo of illegality.

This feeling of “getting away with something”, as opposed to just being or doing is represented extremely well in the one video piece in the show, Forget Him (2009). This single channel video is extremely compelling and layered. Silent footage found by the artist in a Chicago area flea market in 1990, originally shot in the 1960s, is kept in its entirety with only the playback speeds altered. Ishcar adds captions of Walter Benjamin’s One Way Street, as well as a beautiful section from Heirich Schultz’s Symphoniae Sacrae (1629) . This video serves as a present day reflection on the project from the 80s. It begins with footage of a backyard flower garden, has spaces of blank footage with dust and scratches, and then segments of two men at the rocks. The men are changing, one taking off his pants and donning a jock strap, the other removing his fishnet shirt and khakis and dressing in the tightest shorts you have ever seen, struggling to zip them up. The whole time they are looking around, and the gaze of the camera catches passersby in the distance. This seems like a getting ready ritual that would contemporarily be done in the home, to get ready for a club, but takes place in the open space of the Belmont Rocks.  The word from the text, “lovesick, sick, sick”, echo on the screen, seeming to allude to the previously believed “illness” of homosexuality, as well as the consciousness of the AIDS epidemic.

The gallery itself, located in a classic Chicago graystone in Boystown, (apparently one of the first officially recognized “gay villages” in the United States) is incredibly appropriate, adding to the sense of history and urgency of preservation felt in the show. There was also a neatness to the images that worked extremely well in the historic yet well-groomed space. Jacob Meehan, director of GOLDEN, says that many of the neighborhood homos who showed up for the opening this past weekend actually thanked him for showing the work, and reminisced over the images. I think that this show is a great way to begin the year, and to make a meaningful connection with the community.

There is going to be a catalog for Marginal Waters, which will include all 26 of the images in the series as well as text by David Getsy, Steve Reinke and an interview with John Neff. The exhibition has been extended and there will be a closing and catalog release reception, the dates of which will be posted on the website.

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Philip Von Zweck at ThreeWalls

9/11 Philip Von Zweck at ThreeWalls (M, C) The title of this show is “The Fortieth Anniversary of the First Anniversary of May ’68 (in September).” Von Zweck is a significant and much-beloved figure in the Chicago art scene who ran a highly respected apartment gallery for a number of years. This exhibition marks his return to a more traditional solo artist exhibition framework.

Luis Gispert at Rhona Hoffman Gallery

9/11 Luis Gispert at Rhona Hoffman (C) New large-scale photographic portraits and videos by the Miami-born, Brooklyn-based Gispert that focus on immigrant sectors of the American workforce and the search for expressive outlets outside the realm of labor. A three-channel film focuses on Gispert’s friend Rene, a Cuban immigrant who works in a Miami restaurant supply store.

9/11 Jessica Labatte at Scott Projects (M). Labatte’s exhibition Bright Branches documents found objects collected from Chicago alleys and junk stores.

9/11 Craig Doty: Women at Roots and Culture (M,C). The women in Doty’s new photographic series have been described as appearing “physically exhausted as well as ethically or morally debased,” i.e. a wet and shivering woman looking out past viewers with few narrative clues as to why, etc. Given Choire Sicha’s description of Doty as “a sick little pervert” whose previous body of work was “very John Hughes meets John Waters meets John Lydon,” well, let’s just say we can’t wait to see his approach to the subject for ourselves.

Doug Ischar at Golden Gallery

9/12 Doug Ischar at Golden (M,C). A body of work from 1985, never before seen in its entirety, is the enticement here. Ischar’s show is titled Marginal Waters and features images taken in Chicago’s now-defunct Belmont Rocks.

9/19 Jonas Wood at Shane Campbell Gallery (C). He’s from L.A. and showed at Black Dragon Society, plus he’s collaborated with painter Mark Grotjahn…for now, that’s all I need to know to want to see Wood’s show.

9/19 Jason Lazarus, Wolfgang Plöger, Zoe Strauss at The Art Institute (M). A show of recent photographic acquisitions of these artists’ works by the Art Institute.

9/20 Allen Sekula, Polonia and Other Fables at The Renaissance Society (C). New photographs by anti-globalization hero Sekula that focus on Chicago’s rich labor history, its Polish working-class population along with The University of Chicago’s famous lineage of economic theorists. Heady yet vital stuff from this woefully under-recognized L.A.-based artist.

9/25 – 9/27 Mikhail Baryshnikov at Harris Theater (M). It’s Baryshnikov dude. ‘Nuff said.

Greely Myatt in Heartland at Smart Museum of Art

9/30 Heartland at the Smart Museum (C). Coorganized by the Smart Museum of Art and the Van Abbemuseum, a survey of artists from the Midwest aka the American Heartland. Hopefully it’ll subvert the syrupy connotations of it’s title, or at least be the kind of show that people argue, bitch and moan about rather than simply ignore.

10/2 – 10/4  Western Exhibitions and Golden Age at the NY Art Book Fair (M). The only event to make it to our list that is not in Chicago. If your in New York at the beginning of October check out two Chicagoans holding it down at the Fair.

October, opening date TBA, Carroll Dunham at He Said/She Said (C). Carroll Dunham shows in a suburban apartment gallery: the Oak Park home of Pamela Fraser and Randall Szott. Can’t wait for this.

10/8-21 Chicago International Film Festival (M) In it’s 45th year the film festival the two week festival is the hub for all film fanatics.  This festival might be the only time to catch certain films so be sure to check out their schedule in advance.

Jeremy Deller at The Museum of Contemporary Art

10/10 Jeremy Deller: It Is What It Is: Conversations About Iraq, at the MCA (M) Commissioned by The Three M Project Jeremy Deller will invite numerous participants to discuss their knowledge of the Iraq War. Some guest will include verterans, and scholars.
James Welling at Donald Young (C)

10/10 Playing with Pictures: The Art of Victorian Photocollage at The Art Institute (C). I’m a sucker for Victoriana, and this exhibition –the first “to comprehensively examine the little-known phenomenon of Victorian photocollage, presenting work that has rarely—and in many cases never—before been displayed or reproduced” — is probably the one show I’m most looking forward to seeing this fall. A medium mostly practiced by aristocratic women, Victorian photocollage combined human, animal, and botanical forms in all sorts of wacky and whimsical ways, and I’m looking forward to reading the accompanying full-color catalogue to learn more about the ways that female artists of this era approached the form some sixty odd years before Picasso and Braque started playing around with it.

10/13 Alex Halsted and David Moré at Gallery 400 (C). Chicago-based Moré “collaborates” with an elephant nose fish, who emits an electrical pulse as a navigation tool which the artist then amplifies. I love the gallery’s blurb on this show: “This performance duo mixes issues of displacement, communications, commercial sound and inter-species contact in a singularly engaging bio-tech format.” Yep, pretty much says it all.

10/16 In Search of the Mundane at ThreeWalls (M) Organized by Randall Szott and InCUBATE  According to ThreeWalls this series will , “include boozy brunches, a lecture on the art of storytelling, various leisure excursions, and a tour of personal collections.”

Liam Gillick at the MCA

10/17  Liam Gillick Curates the MCA Collection (M, C). We love the way that the MCA is experimenting with the curation of its permanent collection. The MCA has invited Liam Gillick to select works for its next hanging.

11/TBA James Welling at Donald Young (C).  New work by L.A. photographer Welling, whose ongoing interest in the experimental and abstract possibilities of photography set his work apart from contemporaries like Sherrie Levine and Cindy Sherman as well as today’s younger generation focusing heavily on portraiture. Welling’s last show at Donald Young featured photograms of flowers and “torsos” (the latter actually made out of screens sculpted to resemble human curves) made without the use of a camera; the results were gorgeous, and I’m looking forward to seeing what he delves into next.

12/4 Carrie Schneider at MCA 12×12 (M, C)  Often using herself as her main character, Schneider  melds several genres of art-making including body art, performance, self-portraiture photography and film in images that are haunting, creepy, and hallucinatory in their resonance. If someone ever gave Schneider a huge project budget she could give Matthew Barney a run for his money, but for now we’ll look forward to seeing the new short film Schneider plans to premiere in her first solo museum outing at the MCA. According to the MCA’s website, the film, made in Helsinki, Finland while the artist was there on residency, continues the artists’ ongoing exploration of doubled selves and the uncanny.

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1. Milwaukee Ave. Arts Fest.

Just ‘cus there are a ton of things going on of this ‘Fest, there’s bound to be something good happening. My suggestion: hit The Whistler and see Plural’s installation. All along Milwaukee Ave. in Logan Square, Friday, Saturday, and Sunday from noon to 11pm.

2. Printer’s Ball at Columbia College

Columbia College hosts their 5th Printers Ball. It’s gonna be huge, and it’s free! Come see all things print! Friday night from 5-11pm.

3. Burn at Ben Russell

Their press release sold me. All things summer and all on fire. Come and celebrate your inner (or outer) pyro. Sunday 6-10pm.

4. Public Works at Andrew Rafacz

Four boys on display at Rafacz. The exhibition was organized by Andrew and Someoddpilot to celebrate Chicago artists who’ve played large parts in the local art and music scenes. Friday night from 6 to 9pm.

5. Double Closing Fun: Home and Golden

Jenny Buffington at The Diorama Show

Aspen Mays

Two closing receptions are happening this weekend, both for good shows you should see if you haven’t yet: The Diorama Show at Home Gallery, and Concentrate and Ask Again at Golden. Go by for one last horah. Home closing: Sunday noon to 3pm. Golden closing: Sunday 3 to 6pm.

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For more info check out their site.

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1. Aspen Mays explodes your brain with science!

In her first solo show, Aspen is showing off all her art/science craziness. Aluminum foil spaceman, check. Fireflies in the camera, check. You won’t be disspointed. Opens Friday at Golden gallery, 7-10pm.

2. Geometry and mold spores at Thomas Robertello Gallery.

This stuff just looks strange. The title is what caught me, the show is called “Taxonomies.” But with ceramic mold spores from Sarah Hicks and geometric paintings from Peter Barrett, it seems worth a look. Check it out Friday from 5-8pm.

3. The faculty has shown good taste at SAIC.

The faculty at SAIC has passed down their opinion on what’s good and what’s not. Surprisingly (well I was surprised), I mostly agree with them this time round. You can go see new work by Sarah Belknap, Joseph Belknap, Tif Bullard, Yu-Hang Huang, Merideth Lacina, Alison Rhoades, andIsabelle Schiltz at the Betty Rhymer for the Annual Faculty Exhibitions Committee Picks show (I don’t think this is the real title, or whether there is one, so I spliced this together. ) Opens Thursday from 4:30 to 7pm.

4. Artist dresses up as volcano, spends day reenacting Day in the Life of a Volcano.

Do I actually need to say anything else? The afore mentioned peice (by Eliza Fernand) is part of Post Scarcity, a new show at 65Grand curated Thea Liberty Nichols. Opens Friday, from 7-10pm.

5. Performing in the bedroom…

The Second Bedroom that is. Anni Holm is doing an installation called Sleeping Around. If you’re in Bridgeport, head over Friday night.

Sorry for the lack of pictures and links, the zombies are coming!

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• Mechanisms for Validation (Please, please just love me, or at least tell me I’m pretty, but I’ll settle for confirmation that I’m smart)

April 9th, 7pm

threewalls
119 n. peoria #2d
Chicago, IL  60607

Moderated by our very own Duncan Mackenzie

“Join us for this threewallsSALON to discuss the means by which artists and practices are validated in the contemporary art world, where that validation comes from and how it is bestowed.” via their website

• The Generational: Younger Than Jesus

4/8/09 – 7/5/09

New Museum
235 Bowery
New York, NY 10002

“For “Younger Than Jesus,” the first edition of “The Generational,” the New Museum’s new signature triennial, fifty artists from twenty-five countries will be presented. The only exhibition of its kind in the United States, “The Generational: Younger Than Jesus” will offer a rich, intricate, multidisciplinary exploration of the work being produced by a new generation of artists born after 1976.” Via the New Museum website

[Tim says] This show opened earlier this week, but I did not get a chance to see it.  Billed as the “signature triennial,” the New Museum still seems to be in heavy competition for attention amongst the heavy hitters at Whitney and P.S.1.

Friday

• Five Dollar Store

• Intervals: Julieta Aranda

April 10 – July 19, 2009
The Guggenheim
1071 Fifth Avenue
New York, NY USA 10128

In Aranda’s presentation, four conceptually related works propose an alternative notion of temporal experience as a shifting and unquantifiable state, liberated from rigid conventions of measurement.

[Tim says]
In case you can’t tell yet, my event calendar is usually determined by the artists that surround me.  Julieta Aranda is one of the artists behind e-flux and an editor for their journal, although I have not seen much of her given that she has been installing this show, finally opening on Friday.  Tyler Coburn mentioned Julieta Aranda as an artist to watch in the March issue of Art Review.

• You are Young: New Sculptures by Ali Bailey

7-10pm
GOLDEN
816 W Newport
Chicago, IL 60657



“Ali Bailey’s most recent work describes fictional scenarios that hint to a collective memory or experience while addressing multiple themes of chance, failure, melancholy and loss. Bailey’s body of work utilizes a wide range of materials from industrial plastics and polyurethanes, to plaster, oil paint, and found materials. In a similar vein as Chicago artist Tony Tasset, Bailey forces one to consider the history of sculpture: carving, forming, molding, and the ready-made. Bailey uses his own symbols of adolescence and transience to reveal a tension between a unique experience and a shared consciousness.” via the gallery’s press release

Saturday

• Unbuilt Roads Presented by Hans Ulrich Obrist

OPENING Sat. April 11, 2009
6-8PM

e-flux
41 Essex Street
NYC NY 10002

Based on the book Unbuilt Roads:107 Unrealised Projects, Hatje Cantz (1997)
edited by Hans Ulrich Obrist and Guy Tortosa

From the e-flux announcement:
From April 10 to July 19, 2009, the Guggenheim Museum will inaugurate Intervals, a new contemporary art series, with a multipart installation by Julieta Aranda (b. 1975, Mexico City).

[Tim says] This is the first official exhibition opening in E-flux‘s new project space at 41 Essex street.  This is also the first time in a few years Hans Ulrich Obrist has done a project in New York.

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