All posts filed under: Exhibitions

Image: An illustration by Teshika Silver of Breonna Taylor.

July (Virtual) Art Picks

If you’ve followed us for a while, you know that our Art Picks offer a wide scope of events that are relevant to our audiences because we and the artists, cultural workers, curators, spaces, and projects we support live full lives that know no boundaries. We maintain expansive practices and work toward justice for BIPOC, LGBTQIA+, and disability communities in Chicago and the Midwest. If this is your first time coming across this list, welcome. We’re glad you’re here and we hope this list sparks discovery, curiosity, and a demand for justice if you weren’t openly demanding that already. Created in collaboration with The Visualist and adapted for social-distancing due to COVID-19, this list offers online exhibitions, streaming events, a list of online collections from Black and LGBTQIA+ archives, and other ways to spend time in the virtual space. Also, in support of our friends, our communities, ourselves, and abolition/liberation efforts, we’re prioritizing events that uplift and fight for Black Lives and celebrate Black Queer Lives because the fight for Black Lives is the fight for …

Purple Window Gallery: A Quarantine Initiative Brings Exhibitions to Our Windows

Full disclosure: S. Nicole Lane is a participating artist and board member of Purple Window Gallery. Lauren Iacoponi is an artist, curator, and writer who is the co-founder and director of the gallery.  Due to COVID-19, her plans of opening up the store-front gallery space have been postponed. As a result, she has launched an at-home initiative for artists all over the world to participate in. This interview took place via email in early April.  S. Nicole Lane: Can you tell us a little bit about the opening of Purple Window Gallery and when you decided to open up your own space? Lauren Iacoponi: I’ve spent the past several months initiating a project space called Purple Window (coming soon to Avondale, Chicago). I’m the director and co-founder of this upcoming space.  Purple Window is artist-led and community-supported. As an artist cooperative, Purple Window is jointly owned and democratically controlled by its members, so I don’t personally view Purple Window as “my own space.” But I did initiate the co-op and invite each of its members …

Image: Installation shot of Iceberg Projects exhibition “David Wojnarowicz: Flesh of My Flesh,” June 23 – August 5, 2018. In the middle of the room, a sculpture sits on a white pedestal, encased in glass. A world map with words overlaying the image is hanging on the wall to the left, and a video screen is displaying a video on the partial brick wall directly in front of the viewer. Image courtesy of Iceberg Projects.

Tip of the Iceberg: A Conversation with Iceberg Projects

Iceberg Projects is a non- commercial art gallery in a converted coach house at the northernmost tip of Chicago. Over the past ten years, Iceberg Projects has hosted a number of historically important shows, especially of queer and other underrepresented artists, including group shows like the Art+Positive archive, Feel Me?, and Broken Flag to solo shows of David Wojnarowicz, Rotimi Fani-Kayode, Kevin Killian, Barbara DeGenevieve, and Steffani Jemison.  Inseparable from the history of Iceberg is the man behind it, whose backyard anchors Iceberg Projects. Dr. Dan Berger is an HIV specialist who helped develop the drug cocktail widely used for treatment. Recently, he released a video offering expert medical insight into how COVID 19 as it particularly affects HIV and queer communities. But his commitment to queer community extends beyond his medical practice and into his art collection, which focuses on queer and black artists.  I visited Dr. Berger in his Rogers Park home to talk about the history of the space. We also talked at length about institutional risk-taking and archiving queer legacies.  + …

SLAYSIAN: An Abundance of Stories

Jenny Lam curates interactive and compelling exhibitions that spontaneously create community, bringing people together in fun and unexpected ways. Her 2012 exhibition I CAN DO THAT (named “Best Art Exhibit” by audience choice in NewCity’s 20th anniversary Best of Chicago issue) took on that often dismissive and frustrating phrase heard by many an artist at an opening and handed out art supplies for viewers to go ahead and try. Lam’s  2016 show LEXICON replaced the ubiquitous artist’s statement with blank paper for the audience to supply their own reactions. In 2020, she was all set to follow up these acclaimed shows with SLAYSIAN, a show celebrating Asian American artists from Chicago and the Midwest. And then the Covid-19 pandemic hit. Even before Illinois’ shelter-in-place orders, Lam made the responsible decision to call off the public opening reception. But that doesn’t mean the end of the show. Since she couldn’t bring audiences to see the show in person, she brought SLAYSIAN directly to audiences, transforming it into an online exhibition we can view from the safety …

Blackness, Images & the Space Between

A conversation with Milwaukee based fine artist Nick Drain and Genesis Gallery owner, artist, and organizer Randy Brown. Nick recently held his first solo exhibition “In Plain Sight” at Genesis and our collective discussion quickly found its way circling around and through larger topics like race, identity, viewership and the politics of the Milwaukee art scene. Over the course of the last few months, I let our conversation sink in and settle where it needed to in order for me to get down to the guts of what the discussion meant for all of us. I have a distinct memory of the moment I stood in front of Picasso’s “Guernica” at Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. It was the summer before college, I was only 18 years old and I didn’t think of myself as an artist then. I think back to that trip reflecting on the enormity and impact of viewing that painting in the flesh, and I realized it was a moment that hit me too early in …

A Projection Into ‘Paths Between Two Steps’ by Soo Shin

The lymph nodes in my neck are swollen. Poisonous balloons expanding in my throat. I am guilty of my breath, my touch, how they could infect others. I bike to see my partner at Rosehill Cemetery, where we had planned to meet, and I tell him about the wretched mass I sense inside me, surrounding me. So we decide to stay safe, six feet apart, where we will stay for at least a week. We visit his grandparents’ graves, stones placed upon them. He is saying something to me as I draw in and out, in and out wet salty breaths, six feet away. I have never missed a touch so close to me so deeply—I can’t stand it. I go, six feet, then 20, then miles, until I am separated from the one I love. And I am thinking now, as many of us are, what it means to love and to live from a distance.  I am wondering the same thing as I again click through the virtual version of “Paths Between Two …

Image: Installation view of Gordon Hall’s Chicago exhibit USELESSNESS, courtesy Document Gallery.

Slanting Towards Uselessness

“All art is quite useless.”—Oscar Wilde You can’t really step on a slanted step. The Slant Step’s so-called “step” inclines at a 45 degree angle, too steep for a foothold. It is an object that teases utility, like Meret Oppenheim’s fur-lined tea-cup, or Marcel Duchamp’s inverted urinal. What is it for? Nobody could figure that out, and that’s the point. It is an inside joke: a found object whose elusive purpose made for a compelling and enduring art mystery. It is an invitation, a riddle, a call for response.  As legend goes, William T. Wiley found the Slant Step in a San Francisco thrift shop for fifty cents in the Sixties and bought it as a gift for his student—the artist Bruce Nauman, who went on to cast molds in homage. With time it became an object of fixation for a funk art movement of Bay Area artists and poets, culminating in a group show, The Slant Step Show, at Berkeley Gallery in 1966. When Richard Serra stole the Slant Step from that show and …

A Scene of Her Own: The Inimitable Vaginal Davis

Her blond hair perfectly flipped, a smile breaking across her warm and open face, Vaginal Davis takes the mic, satin blue nighty shimmying. Amidst a stage of fierce femmes of all shapes and sizes rocking back and forth in slumber party attire, Davis holds the center of our attention. Performing tonight as Graciela Grejalva—lead singer of Cholita!—she sings, she shouts, sweating, spitting rapid-fire lyrics, a pink swatch of fabric clutched in one hand. Her other hand gesticulates wildly, mirrored by the lingerie-clad woman to her left who cajoles in pantomime, pointing at, sometimes flipping off the audience, implicating and drawing them in. Black and brown women, including Alice Bag of Sad Girl and The Bags, play backup to our Blatino (half Black, half Mexican), intersexed, queer drag superstar, churning out a low-fi frenzied garage punk beat. “CHINGA TU, CHINGA TU, CHINGA TU MADRE!” they collectively sing in urgent, joyful unison. Go fuck yourself. Literally, go fuck your mother. Vaginal Davis, who named herself after Black radical Angela Davis with a queer, humorous twist, is not …

Yasaman Moussavi at the Beverly Art Center

Space is a longtime preoccupation with the Iranian artist Yasaman Moussavi, whose recent show, Intervals was on display at the Beverly Art Center from Jan 3 to Feb 2, 2020. In Moussavi’s Intervals, space is mediated through two parallel operations of marking and organizing. By marking I mean a primeval enactment of space through play and its subsequent punctuation through psychic and cultural investment. Organizing, on the other hand, is less about compartmentalization than about space as the locus of social cooperation. Intervals consists of three parts: suspended large handmade papers installed along a zig-zag path, a bird’s eye view upon an urban landscape created by molded papers, and a collection of tiny cubicle paper modules carefully selected and framed in a fashion reminiscent of butterfly specimens. Hanged by thin transparent wires, the papers with the bulky, rough surfaces manifest a thrust, a longing for defying gravity. However, such an urge for the heavens does not manifest a perfect balance but a fragile union of materiality and spirituality. Likewise, the framed paper modules—despite all their …

Landscape of What is the Midwest? exhibition at The Newberry Library

What is the Midwest?

“Place is a home, be it homestead, henhouse, town, nest, den, or cave. Place is renewal. It is history and hope for those who dwell there.” —Jill Metcoff “Doubtless it will be painful to leave the graves of their fathers.” —Andrew Jackson, 1829 State of the Union Address The door is a question mark, one that also punctuated the title of the recent Newberry Library exhibition What is the Midwest? It’s a question I’ve been stuck on for years now, as I’ve grown and felt the tugging that can only happen after you have sprouted roots in a place. This question of place functions as storage organ for the words and images produced by creators in the region. It is a lonely sort of potato. It can power the work – we feel we have to prove our place – or drag us down – we feel we have to prove our place. Writer Dorothy Allison grew up in one such no-place, “the place that is no place for most other people.” The truck stop. …

Installation view of Men of Change. The installation made of metal poles is in the middle of the room. Light boxes of various sizes featuring photos and text are hung on the metal poles. A large display box in front of the installation features a poster that reads STORYTELLERS. Along the walls of the room are paintings and other artworks, most of which are obscured by the metal pole installation in the middle of the room. A woman stands in front of the light box installation, looking at the installation. Photo by Phil Armstrong. Photo courtesy of the Smithsonian Institution Traveling Exhibition Service.

Have you seen them? “Men of Change” at the National Underground Railroad Freedom Center

“Have you seen them? You see them. Bold. Powerful.         Tragic. Beautiful.                 And true. They are icons with warrior roots. They are trees of knowledge. Legends of the past, inspiration for the future, the fierce energy of now.” The introductory text to “Men of Change: Power. Triumph. Truth.” paints a picture of what you can expect within the two rooms containing the ambitious exhibition. “Men of Change” highlights the accomplishments and legacies of black American men through text, photography, and artwork from twenty-five American artists. The changemakers — some long gone, many still alive — were paired with artists who made artwork related to, about, or honoring them.     The exhibition is organized by the Smithsonian Institute Traveling Exhibitions Services (SITES), and will travel to ten locations over the next three years. It debuted at the National Underground Railroad Freedom Center in Cincinnati, Ohio, and is on view until December 1, after which it will head to the Washington State History Museum in Tacoma, Washington. WeShouldDoItAll (WSDIA), a Brooklyn-based design studio responsible for the “Making A …

The Last Cruze: LaToya Ruby Frazier at the Renaissance Society

Mary Barra, the CEO of General Motors, stated at the October 2018 CityLab Detroit Leaders Conference that she hoped to shift public perception of GM from that of an automobile manufacturer to a technology company before her retirement. Barra’s comment hinted at a desire to not only change the driving ethos of GM production but to also transform the configuration of GM’s workforce: imagine a future akin to Tesla’s automated assembly line, their factories quiet save for the AI programmed to build their “tech.” The wish to associate GM with an encroaching technocratic future reflects how labor, capital, and the management of these two components of late capitalism have shifted within the neoliberal paradigm. The dialogue of labor is rapidly changing. Rather than centering the conversation on workers, the question is now how production is managed, diffused and parceled out: human lives become human capital. This message casts a long shadow over the recent United Autoworkers Union deal with GM, ratified on Nov 4th, 2019. UAW members were on strike for six weeks, the longest …

Image: Installation view of "Dark Matter: Celestial Objects as Messengers of Love in These Troubled Times" by Folayemi Wilson. Catwalk with rotating NASA videos of the sun and moon. Photo by Michael Sullivan.

Space is a Place: Folayemi Wilson at the Hyde Park Art Center

There’s this thing that happens sometimes when I close my eyes and focus on nothing. It’s not like the after-image that you often get when looking at an object for a long time, but something else entirely. I see daubs of light, tiny flecks of indiscernible colors that move and dance in the darkness. And frequently, there is an actual place, a room that has no apparent walls, but feels like I’m somewhere else than where I really am–an astral projection of a space for safety and reflection. This place, I believe, was made manifest when I entered the main gallery this summer at the Hyde Park Art Center (HPAC) to view Folayemi Wilson’s latest work Dark Matter: Celestial Objects as Messengers of Love in These Troubled Times. I met Fo late last year during my stint in the Teaching Artist’s studio of HPAC. I had worked there since September 2016, and was encouraged to apply to be a resident. A couple months later, I was sharing the space with another teaching artist. Now, mind …

7 Reflections & Suggested Sounds: ALL WE WANT IS TO SEE OURSELVES at FLXST Contemporary

The following are reflections and suggested sounds for pieces by seven artists that were included in the exhibition ALL WE WANT IS TO SEE OURSELVES at FLXST Contemporary. The exhibition ran from August 3 – September 1, 2019 and was curated by Jan Christian Bernabe Paolo Arao, Greater Than (Diptych), 2018 Greater Than (Diptych) splits into two canvases hung like diamonds, each one broken down by the same primary colors: blue, red, yellow, and beige cotton. On the left canvas, the corners each have a perfect triangle of either blue, red, or yellow while in the center lies a perfect beige square. On the right, the same color pattern is inverted: four beige corners and a square divided into four slices of elementary colors. Once you know the title, it all falls into place and the geometry, the hidden mathematics of artifice, begin to open themselves up. An elementary school teacher taught me that the greater-than sign could be remembered because the alligator (> or <) eats the bigger number (the better number?) and here, …

You Are Here: Mark Joshua Epstein

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. by Mark Joshua Epstein I usually live on …

You Are Here: Stephanie Graham

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. by Stephanie Graham Hello. My name is Stephanie …

What’s Your Logo, Virgil Abloh?

Virgil Abloh, street-forward renegade of high fashion and luxury art, speaks the trickster tongue of logos. Logos are his language, the figures of speech invoked in the title of his survey at the Museum of Contemporary Art Chicago. If we are to understand logos as figures of speech, then we must trace their messaging on our bodies. We are subjected to logos more or less 24/7, but are we the subject of logos? Do logos express our subjectivity? Is there space for authenticity within logo culture? Abloh remixes and samples revered logos from Nike Air to Vuitton, unmaking in order to expose their conceptual significations and limitations, especially in relation to race.  “I want to read an existential essay on logo and art,” Abloh declared at the press preview Q & A.  +++ Logos ( λόγος) has a long history in philosophy and theory of rhetoric. In a discussion of speech versus writing, Plato contrasted logos, or what is said, with lexis (λέξις), or how it is being said, creating a binary of content and …

Featured Image: Andre Keichian, 'Salt in the I' (detail), 2019. View of negatives from Keichian's family photo album adhered to a glass window as part of the exhibition installation at table. Photo by Kim Becker. Image courtesy of Kyle Bellucci Johanson.

New Political Imaginaries at the table: Interview with Kyle Bellucci Johanson

In a 2017 interview for the Brooklyn Rail, poet, critic, and theorist, Fred Moten said: “Everything always needs new language. We constantly have to renew the language of any mode of inquiry. Some of the tools for that are in art history and some are in other places. If you’ve really got to do something, and it’s really important, you don’t give a shit where the tools come from. You get the tools wherever you can find them and then you deal with the consequences that attend those tools as you work with them. You don’t reject tools out of hand just because they come from this or that place. To me, that means you aren’t serious about getting the job done—you’re serious about something else, maybe about some bullshit notion of purity, but you’re not serious about getting the job done.”  This statement reverberates through table, a temporary project space organized by Kyle Bellucci Johanson, who has turned to building coalition through initiating critical discussions of contemporary art in the dining room of his …

Image: Alejandro Jiménez-Flores, una noche maravillosa —a wonderful night, 2019, soft-pastels, flower petals dyes, and plaster on muslin, 9x11 in. Photo courtesy of Apparatus Projects.

Alejandro Jiménez-Flores: Always Touches on a Flower

Earlier this year, the two-person show Always Touches on a Flower at Apparatus Projects (February 17 – March 24, 2019) featured the work of Alejandro Jimenez-Flores and Cathy Hsiao. Enveloped in the themes of flowers and language, Jimenez-Flores’s work created an intimate and beautiful space at Apparatus Projects. Their work of soft floral transfers and paintings deal with themes of memory and plays with the language of flowers, both in Spanish and English. Pulling from personal memories, poetry, time traveling, and everyday experiences, Jimenez-Flores’s work is not to be missed.  This interview has been edited for length and clarity. Cecilia Kearney: Let’s start with some background, tell me a little bit about yourself.  Alejandro Jiménez-Flores: I’ve been an artist since high school. I mean, I always doodled and sketched growing up, but when I went to high school I took photography classes after school. And then I was an arts major. For undergrad, I went to UIC. I majored in Studio Arts (drawing and painting), but I was kind of all over the place–I was …

A view of the Archive of Touch exhibition at Goldfinch Gallery from the entrance of the room. Photo by Daniel Hojnacki.

Review: Processing An Archive of Touch at Goldfinch Gallery

“To persist at an encounter with the poor little world is the work of the artist. A test, and I think we do it for each other. To enact a critical metaphysics out of love, to ask and play and choke and fail, to posit small actions as consequential, emphatic, necessary, to insist on painting as an archive of touch, is hopeful, is hungry. My community exceeds me, the gift somehow never leaves my hands.” – Dana DeGiulio The creative act for the artist lends gravity to small actions, as motions and brush strokes become big decisions. In the group exhibition “An Archive of Touch,” each artist reconsidered their decisions through the lens of the titular concept, creating as a process of archiving touch. The output: documents of acrylics, carved clays, oils, stoneware, yarn; histories of relationships with objects, others, and themselves. Residing in East Garfield Park at Goldfinch Gallery through August 3, “An Archive of Touch” is comprised of works by Yesenia Bello, Dana DeGiulio, Andreas Fischer, Alejandro Jiménez-Flores, Joyce Lung, SaraNoa Mark, and …

In Conversation with Cheryl Pope

I first encountered Chicago-based artist Cheryl Pope through her recent installation at Monique Meloche Gallery. I was immediately drawn to the intimacy in her work, combined with the texture of the wool that allowed a softness to the vulnerability of her interracial figures. Pope’s work encompasses many mediums including sculpture and performance. The underlying subjects in her work of identity with respect to race and gender stuck a chord in me. While our perception of ourselves is ever changing, there are certain characteristics that influence our identity. Pope excels at provoking the viewer to question their sense of identity.  Caira: How would you describe your practice? What are the key themes you are exploring in your work? Cheryl: [The] key themes in my work are elevating vulnerability, challenging positions and uses of power, and celebrating equality.  Caira: Your latest show at Monique Meloche explores the bodies of an interracial couple, along with that you present these forms in a sensual depiction. How does this body of work speak you your practice of identity and race. …

Image: Kahlil Robert Irving, MOBILE STRUCTURE; RELIEF & Memorial: (Monument Prototype for a Mass); 2019. Sculptural Installation. Photo by Shabez Jamal.

From Punk Clubs to Panaderías: Counterpublic, An Embedded Triennial

In an era hypersaturated with recurring exhibitions – from Shanghai to Sharjah, Havana to Venice – a new St. Louis triennial urges artgoers to forgo the touristic water taxis for their own two feet. Organized by The Luminary, a St. Louis-based nonprofit platform for art and activism, Counterpublic reinvigorates global precedents with a model that approaches the city on the scale of a neighborhood. Its inaugural iteration takes place in the 12-block radius of Cherokee Street, a neighborhood of family-operated businesses and art spaces that serves as the Latinx center of St. Louis. Any of the 30+ site-responsive installations and performances greet equal parts neighbors carrying grocery bags and cognoscenti clutching the newspapers that serve as maps to make the pilgrimage. Artworks are ingrained in punk clubs and panaderías, indicated subtly by small yellow signs. The exhibition evolves at various levels of sunlight and sobriety – it features a John Riepenhoff-created beer at Earthworks brewery –as Counterpublic’s hours are set by the shops themselves. On the street, none of the artwork is particularly protected; this …

Arranging, Abstracting, and Transforming at Experimental Sound Studio

Entering Without Within at Experimental Sound Studio (ESS) in Ravenswood, you encounter a variety of sculptural objects comprised of glazed ceramic, cuts of wood, and metal panels made by multidisciplinary artist Mie Kongo. The pieces, an amalgamation of these natural materials, are combined so carefully and intentionally as they emanate a calm confidence. One piece features an amoeba-like, white structure that exists on top of a tree log that’s been cleanly chopped on top and bottom. Two rectangle tiles grow out of the amoeba and a small metal panel cleanly sits atop all of this chaos.  Surrounding this visual experience is the subtle influx of sound that oscillates between somewhat recognizable and minimal industrial sounds to more complex abstractions, created by sound artist Norman Long. This sort of arranging, abstracting, and transforming lies at the heart of the exhibition, curated by Ruth Hodgkins, the current Bentson Archivist and Assistant Curator at the Walker Art Center in Minneapolis. Throughout the exhibition, both artists take inspiration from the world around them but choose to adjust, amend, and …

Image: Elliot stands under scaffolding along a brick building, with the street to the right. One hand holds onto a post on the scaffolding, and he's leaning out to the left towards the frame. Photo is in black and white. Photo by Ryan Edmund.

The Art of Adaptation: An Exit Interview with Elliot J. Reichert

In 2013, just days into his position as the Assistant Curator of the Mary and Leigh Block Museum of Art, Elliot J. Reichert was doing what curators often do. After being thrown into the installation process of a new exhibition, he was flexing his ability to fuel wildfires while demonstrating his resourcefulness in locating unusual materials at the very last minute in service of an artist’s vision. In this case, the artist was the late musician and sculptor Terry Adkins and the wildfires were the brand new works that had been sitting on the back shelf of Adkins’ mind for years that he now had the opportunity to bring to life. When Elliot took this role, the museum was preparing to mount Recital, a substantial solo exhibition of Adkins’ work which had traveled from the Tang Teaching Museum in Saratoga Springs, New York to Chicago. When Recital was being mounted, there was no way of knowing that this mid-career retrospective would, in fact, be a definitive moment in Adkins’ career and would also be marked …

The Law of Attraction: Katie Bell at University Galleries

A nexus of energy has coalesced in the corner of Illinois State’s University Galleries, pulling objects and people alike to its epicenter. Brooklyn-based artist, Katie Bell’s site-specific installation is a symphony of found materials. Planks of wood and sheets of foam board are layered on the walls over large swaths of pastel paint. A pillar leans like a toppled monument. A strip of rubber baseboard stretches over the concrete floor, drapes across the wall, and curls back onto the floor. A wooden rod pierces a stack of pink paper. Cuts of curved faux-marble seem to melt as though lifted from a surrealist’s canvas—a Kay Sage painting breaking through the picture plane. In her animated yet understated play of line and geometric form, Bell also seems to borrow compositional cues from the suprematists. And if the energetic compositions and muted color palette of Standing Arrangement are the embodiment of what Malevich championed as a “pure artistic feeling,” then it is one of dreamlike ecstasy. Laced throughout the room are moments of suspension, the climax just after …

Swarm To This Chicago Art Residency’s First Public Showcase

Swarm Artist Residency is not just a creative community—it is an apiary. Like a bee farm, Swarm pollinates individual artist practices and cultivates a one-of-a-kind community. Swarm started in 2015 with the intention of creating a safe, inclusive communal space to nurture underrepresented artists’ practices. Each July, Chicago artists and healing practitioners get out of the city to gather on a farm out of state for a low-cost or fully-sponsored residency. Artists nourish in each other’s co-presence in community workshops, shared meals, and healing circles. Away from the city’s noise, new ideas buzz.   Four years into the experiment, Swarm is putting on its first public exhibition in the city. Its showcase of current and former artists in residence is timed for the summer solstice: Friday, June 21, 7:30-10:30pm, at Logan Square’s FDC Studios. In addition to giving the public a chance to engage with Swarm’s art and communal energy away from the retreat space, the exhibition fundraiser will also help cover 2019 residency costs for accepted artists. I talked to two of Swarm’s Queen …

Image: Installation shot of Gregg Bordowitz: I Wanna Be Well, 2019. © Gregg Bordowitz. Image courtesy of the Art Institute of Chicago.

Analog Love: Synching Up In the Time of Queerness

“Queer life and love in the 1980s was cruelly characterized by the knowledge that time was running out.” —Joshua Chambers Letson, After the Party: A Manifesto for Queer of Color Life What if queerness is not out of time? What if it is in fact deeply entangled in time, intimate with its intricate loops, its swells, its passing lulls? Consider the clock to be a geography of relation. To declare queer not out of time but in fact enmeshed with time is to dance towards becoming synchronous against the odds. Attuning across long distances, linking despite (or perhaps because of) grief. To fall in time is to fall into a love unrequited: time cannot love you back, cannot nurse your wounds, cannot even promise you company. Time is out to kill, racing against us. Even yet—we rush to its side, seeking its alliance at a lover’s deathbed or amidst the off-hours communion of the dance floor. + Lately I’ve been dancing with archives. Everything touches up with everything: I am experiencing what seems a surreal …