Work by Josh Rios and Anthony Romero.
Art in These Times is located at 2040 N. Milwaukee Ave. Reception Friday, 6-9pm.
Work by Aline Cautis.
Regards Gallery is located at 2216 W. Chicago Ave. Reception Saturday, 4-7pm.
Work by Ortega y Gasset Projects.
SideCar is located at 411 Huehn St., Hammond, IN. Reception Saturday, 5-10pm.
Work by Sarah and Joseph Belknap.
The Franklin is located at 3522 W. Franklin Blvd. Reception Saturday, 10-12pm.
Work by Irina Botea.
Julius Cæsar is located at 3311 W. Carroll Ave. Reception Sunday, 1-4pm.
Work by Irina Botea.
Threewalls is located at 119 N. Peoria St. #2C. Reception Saturday, 6-9pm.
Work by Shane Huffman.
The Chicago Cultural Center is located at 78 E. Washington St. Reception Friday, 5:30-7:30pm.
Performance by Fujui Wang.
Antena is located at 1755 S. Laflin St. Performance Saturday, 7-10pm.
Work by Ryan Travis Christian.
Western Exhibitions is located at 845 W Washington Blvd. Reception Friday, 5-8pm.
Work by Thomas Killian Roach.
Document is located at 845 W. Washington Blvd. Reception Friday, 5-8pm.
Work by Sebastian Alvarez, Jeremy Bolen, Irina Botea, Agnes Meyer-Brandis, Robert Burnier, Marcus Coates, Assaf Evron, Carrie Gundersdorf, Institute of Contemporary Zoology, Jenny Kendler, Devin King, Stephen Lapthisophon, Milan Metthey, Rebecca Mir, Heidi Norton, Okosua Adoma Owusu, Katie Patterson, Tessa Siddle, and Xaviera Simmons with AOO.
Gallery 400 is located at 400 S. Peoria St. Reception Friday, 5-8pm.
Work by Sarah and Joseph Belknap
Heaven Gallery is located at 1550 N. Milwaukee Ave. Reception Friday, 6-9pm.
Work by Edie Fake.
Links Hall is located at 3111 N. Western Ave. Reception Friday, 7-9pm.
Work by Hannah Ireland.
Spudnik Pressis located at 1821 W. Hubbard St. Reception Saturday, 6-9pm.
Work by Jake Myers.
TRITRIANGLE is located at 1550 N. Milwaukee Ave. 3rd Fl. Reception Friday, 7-11pm.
Our I First Our Looking: Interview with Performance Workshop participants at Atelier 35, Bucharest, Romania
The following interview is a performer-centered echo of a bunch of cool art students and Irina Botea (the organizer of the Dec 2012-Jan 2013 workshop) with whom I had wine in the back of the famed Bucharest gallery, Atelier 35. Spaces called Atelier 35, which are geared toward younger artists, dot across Romania and are used as outlets for formal experimentation. The outstanding fact about these spaces is that these, often centrally located galleries in urban centers, were used for the same purposes even during Ceausescuâ€™s paranoid reign.
Because I enjoyed my conversation with the performers so much, I asked them the following question. Their email responses follow my question. What does your work protest? I ask this question because it seems the most basic and therefore most relevant question given the subject under consideration: the replacement of the beautiful patina of old windows all over Romania with hermetic modern and homogenous Termopane.
Allow me to rephrase the same question and add some context and nuance. In light of Adornoâ€™s claim that art documents history (however much through the conscious or unconscious relational aesthetics of the artist-viewer encounter), what does your project-performance-discussion about old windows being replaced by Termopane document? If you donâ€™t think this work (in its intention or in its effect) documents anything, what idea does the work decorate? If you donâ€™t think the work documents or decorates anything, what does it do and how does it do it?
I asked the performers not to discuss the question or their responses before emailing me. Here is what 5 of 13 performers had to say:
â€œOur work is about how we relate to the artificial window, it’s about how our lives are influenced by it, about how we isolate each other from each other, how our lives become more and more artificial and “virtual”, at the same time, with the rise of new technologies. Before the change, the old window allowed a conversation or, better said, maintained a relation between the two spacesâ€”the one that’s inside of the building (our private space)â€”and the urban space. Termopane cease this communication, take control, and create a cold wall between the outside world and us by promising to protect us from whatever is on the other side. But the unseen part of this protection is that it can easily turn to alienation.â€Â â€“ Kiki Mihuta
â€œI think that our workÂ questions the termopane the window and everything that comes with (the termopane is not good or bad). This was a subject that we received during a workshop. We tried to understand what was going on. And I wasÂ amazed when you ask us about “protest” the first time over wine in the back of the gallery. I can see the need for the word “protest” once I think about the fact that currently we are in the middle of an accelerated form of capitalism that has put us in the situation where we are losing something every day. You win as much as you lose, but you don’t have the time to understand the loss. You see all over the word these small groups that can’t face the new and they get lost in it (I don’t want to be taken as a traditionalist). I am talking here about the glaziers (â€œGeamgiiâ€ in Romanian), the old glasscutters calling out their trade between blocs carrying the glass panes on their backs. After recognizing this larger context I simply ask myself ” Against whom would such a project be protesting?”â€ Ileana Faur
â€œFirst of all we do not protest against double-glazed windows.Â We started out by looking into what seemed like a trend, a fad even but we considered it with a friendly look and after weeks of intense discussions we gained some insights into the effects of double-glazing oneâ€™s house â€“ some of them being on the one hand, isolation and its â€œby-productsâ€ (e.g., not being able to react to what happens outside anymore since Termopane create an almost soundproof house) and a deeper appreciation of the sounds in oneâ€™s own house on the other hand.Â Secondly, I strongly believe that we react, we reflect on something that cannot be overlooked since it has an impact on both our city and its inhabitants.Â And yes, our work does document this to the extent to which we acknowledge the existence of something that impacts us. This is reflected in our performance. â€“ Delia Gheorghiu
â€œOur work focused on the impact of this replacement (of old windows with multiple-layer double-glazed windows) on the people who purchase them. In Romania, this transition is advertised and widely acclaimed as being more than just necessary â€“ but the default upgrade, perfect for every house. While questioning this widespread idealistic belief that Termopane are the right (almost the only valid) choice, we pursued in deconstructing its â€œpromisesâ€. And since you referenced Adornoâ€™s claim that art documents history, one of the key aspects this work documentedÂ is how the perfect isolation, the safety promised by the Termopane comes with an unexpected turn: isolation means protection, security, intimacy but it also raises questions regarding responsibility and anxiety. These new guidelines of the private space influence peopleâ€™s social and psychological behaviors, by means of a rather unnoticeable slow process of adaptation.â€ Ioana Gheorghiu
â€œLooking back at the way the project developed and evolved from the beginning up to the present time, I can relate to it only as a work in progress. I do not think that the aim of our work was to protests against something in particular. As far as Iâ€™m concerned, I consider it to be an attempt at understanding the current situation and its implications: types of isolation, comfort zones, relation between public and intimate space, social interactions etc. However, taking into consideration the historical aspect, it is clear that the replacement of old windows with termopane began after the fall of the communist regime, which might lead to new ways of interpreting the current situation. As political factors have direct implications in the social sphere, the phenomenon can also raise questions regarding the consequences of political changes taking place in time and the way in which they affect the social behavior of inhabitants.â€ Raluca Croitoru
Work by Meryl Bennett and Matt Taber, Britton Black, Anita Brathwaite, Guerrilla Smiles, Jane Georges, John Kurtz, Julia Haw, Marc Hauser, Deborah Lader, Jean Loup Sieff, Grace Molek, Harvey Moon, On The Real Film, Rabbits, Alfredo Salazar-Caro, Bill Sosin, and Xiao Tse.
HAUSER Gallery is located at 230 W. Superior St. Reception Friday, 6-9pm.
Curated by Zach Dodson, Dan Gleason, and Caroline Picard, with work Jesse Ball, Irina Botea, EC Brown, Lilli CarrÃ©, Ezra Claytan Daniels, Edie Fake, Heather Mekkelson, B. Ingrid Olson, Frank Pollard, Aay Preston-Myint, Deb Sokolow, Bill Talsma, and Viktor Van Bramer.
Hyde Park Art Center is located at 5020 S. Cornell Ave. Reception Sunday, 2-5pm.
Work by Justin Bendell, Terence Hannum, Thad Kellstadt, David More, and Bert Stabler.
The Franklin is located at 3522 W. Franklin Blvd. Reception Saturday, 6-9pm.
Work by Kiam Junio, Chelsey Sprengeler, Natalia Nicholson, Joshua Roginsky and Collin Pressler.
Anatomy/Gift/Association is located at 1619 W. 16th St. Reception Saturday, 7-9pm.
Work by Lilli Carre and Alexander Stewart.
Roots and Culture is located at 1034 N. Milwaukee Ave. Reception Friday, 6-9pm.