ArtSlant - Openings & events en-us 40 Victoria Sambunaris - Museum of Contemporary Photography - February 8th, 2013 6:00 PM - 7:00 PM <p style="text-align: justify;">Join us for a public reception celebrating the exhibition Victoria Sambunaris: Taxonomy of a Landscape . Exhibiting artist Sambunaris will also speak about her work at 6pm in the Ferguson Lecture Hall (also on the first floor of 600 S. Michigan Ave.)</p> Sat, 02 Feb 2013 01:49:50 +0000 Jeremy Bolen - Andrew Rafacz Gallery - February 9th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;">ANDREW RAFACZ begins 2013 with Cern, new works by Jeremy Bolen. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.<br /> <br /> In an effort to rethink documentary tendencies, Jeremy Bolen employs a series of site-specific, experimental photographic techniques to explore the tensions between traditional representation and invisible phenomena. Bolen uses bodies of water, soil, unexposed film, and self-designed multi-lens cameras as recording devices, rethinking the apparatus for each site to capture events beyond human perception. He collaborates closely with scientists, piggybacking on their experiments to record evidence of unknown and unresolved energy, from forgotten natural disasters and particle acceleration, to the surface of the film. The film becomes a responsive membrane leaving a documentary trace, an ambient map, a literal, empirical index that makes the unknown less abstract. The final images are re-immersed in the site material where they were conceived, causing a tension between the real and the representational. <br /> <br /> To create the work included in this exhibition, Bolen traveled to CERN in Geneva, Switzerland to interact with the Large Hadron Collider, which produces 600 million particle collisions per second in an effort to recreate the conditions present just after the Big Bang. These “field recordings” ultimately investigate the complications that arise from these collisions and their relationship to naturally occurring forces. New spaces evolve in each document as climate and human interaction shift and blur the system of materials. As Karin Knorr Cetina wrote in Epistemic Cultures, “in these experiments the universe of signs and traces is overlaid by a universe of simulations and distortions of signs and traces.” For Bolen, this is the way the practice of the photographer and the scientist are fundamentally connected. In the same way that things are disturbed when measured through scientific processes, the very act of photography itself, whether traditional or experimental, adulterates its final results. It is this tension between the accuracy or inaccuracy of capturing ephemeral phenomena and its potential representation as a visual artifact that drives Bolen’s documents.<br /> <br /> JEREMY BOLEN (American, b. 1977) lives and works in Chicago. He received his MFA from UIC in 2012. He was included in GROUND FLOOR at the Hyde Park Art Center, Chicago, in 2012 and exhibited at the UNITLED art fair in Miami, December 2012, with the gallery. He is included in numerous private collections as well as the Progressive collection. A catalog with images and an essay by Monica Westin accompanies the exhibition.</p> Mon, 04 Feb 2013 00:42:21 +0000 Judith Geichman - Carrie Secrist Gallery - February 9th, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;">Carrie Secrist Gallery is pleased to present a solo exhibition of paintings and works on paper by <em><b>Judith Geichman</b></em>, opening Saturday, February 9, 2013 from 5 - 8 PM. This new series of black and white abstract work was created through a process of adding and editing, a gestural layering that experiments with a new language of abstraction.</p> <p style="text-align: justify;">Within each of Geichman's paintings, marks, stains, pours and drawings conjure unexpected relationships to landscape and to the figure. Each square-format painting is composed of acrylic and enamel on canvas. Typically restrictive, this Modernist structure liberates Geichman's use of arrangement, movement, and rhythm. Positioning the paintings like a theater in the round, the square establishes multiple approaches to make and to view each piece.</p> <p style="text-align: justify;">Geichman's paintings are rich with art history, and include influences from both Western and Eastern canons. From Imagist Ray Yoshida she incorporates graphic mark making as a vehicle to build each painting, while New York School artists such as Morris Louis and Helen Frankenthaler inspire Geichman's stained canvases. Her study of Chinese scholar's rocks provides an interest in atmospheric spaces whereas she derives the use of pattern and curvature from Arabesque sources.</p> <p style="text-align: justify;">On view in gallery two, Geichman's new works on paper are immediate and economical. The artist's exploration of the Chicago cityscape, as well as recent travels to Iceland and Ireland, inspired her to experiment with new tools and techniques in her studio. Before translating her latest ideas to canvas, she drafted a body of paper pieces. Formal contrasts between light and dark, figure and ground, and flat and volumetric spaces allow Geichman to imagine a world, a space, and a place in each piece.</p> <p style="text-align: justify;"><strong><i>Judith Geichman </i></strong>is on view through March 30, 2013. The gallery will host an artist talk and closing reception on Saturday, March 30 from 1 to 5 PM.</p> <p style="text-align: justify;">Judith Geichman is an Adjunct Professor of Painting and Drawing at the School of the Art Institute of Chicago, where she received her MFA in 1978. She is the recipient of two National Endowment for the Arts Visual Arts Fellowships,The Margaret Klimek Phillips Fellowship and participated at The Gil Society Residency in Akureyri, Iceland, as well as the Visiting Artist Residency at the American Academy in Rome. Past solo exhibitions include Julius Caesar, Chicago Cultural Center, Spertus Museum, and Evanston Art Center. Her work was the subject of a two-person show (alongside Phyllis Bramson) at Carrie Secrist Gallery in 2010.</p> <p style="text-align: justify;"></p> Sun, 10 Feb 2013 14:10:47 +0000 Johanna Billing - Kavi Gupta Gallery - February 9th, 2013 4:00 PM - 7:00 PM <div class="leftcon"> <p style="text-align: justify;">Kavi Gupta CHICAGO is pleased to present Johanna Billing's most recent film. 'I'm gonna live anyhow until I die'. Billing’s videos weave music, movement and rhythm - placing subtle emphasis on the individual within representations of changing societies. In her work Billing directs the participants and puts in place a series of improvisations around the notion of performance and the possibility it holds to explore issues of the public and the private. The protagonists in Billing’s videos all play themselves but take part in staged situations that oscillate between documentary and fiction, as a multi-layered interpretation of a place.<br /> <br /> I'm gonna live anyhow until I die (2012) is a video work set in Rome, that has its origins in a project to mark the 150th anniversary of the Unification of Italy, co-commissioned by Fondazione Sandretto Re Rebaudengo, Turin, and the MAC, Belfast, during 2010-2012.<br /> <br /> The main characters are five children who run around the streets of Rome, doing whatever they like after abandoning their parents at the restaurant, Al Biondo Tevere1. After running through the park of the Roman Aqueduct, a courtyard in the 1930s working class district of Testaccio, and Ostia's Seadrome, the children finally arrive in an empty school in the centre of Rome where time seems to have stood still. The old classroom has been turned into storage and here they begin to play with the obsolete pedagogical tools and technological instruments they find. It is as if they are trying to understand what to do with them or what they could be used for. Little by little, each child begins to compose black shapes on sheets of drawing paper folded in half, creating blots that resemble those of the Rorschach test. The children’s imaginary journey takes them back and forth in time, place, and genre, freely following their own pace and rhythm.<br /> <br /> Harnessing her talent for research, Billing used Lazio, Rome as source material, drawing on traditions, the human psyche, film, and education. She references Italian Neorealism and as well as psychoanalytical workshop techniques. Visiting Rome during the demonstrations against university reforms in autumn 2010, Billing began to focus the work on the future of the younger generation and the populist political ideology, which has been undermining the education system. The work is also haunted by the life and death of Pier Paolo Pasolini, who anticipated the social and cultural changes that would sweep the country at the end of the 1970s. The project is also a loving tribute to pedagogical heroes such as Bruno Munari and his tactile workshops for kids. It also champions the early tradition of Italian filmmakers who in their often biographical films about the 40s and 50s, focused on the freedom of children exploring their city as a way to reflect upon historical and societal changes.<br /> <br /> The accompanying soundtrack arranged by Billing features a Romany violin, upright bass, whistling, and improvised interpretations of the songs Cariocinesi and Mechanics (originally written by the Italian progressive experimentalist Franco Battiato), serving as homage to Battiato and his classic concept album Foetus from 1972. The final result is the product of a meticulous editing process that places equal focus on both the visual material and sound recording. <br /> <br /> Johanna Billing was born in 1973 in Jönkoping, Sweden. She attended Konstfack, International College of Arts, Crafts and Design, in Stockholm where she has lived and worked since graduating in 1999. Recent major solo exhibitions include "I’m gonna live anyhow until I die”, The Mac, Belfast, (2012), “I'm Lost without your Rhythm", Modern Art Oxford, ”Moving In, Five films”, Grazer Kunstverein, Graz, (2010), ”Tiny Movements, ACCA, Melbourne, ”I’m lost without your rhythm, Camden Art Centre (2009), ”Taking Turns”, Kemper Museum, Kansas City; ”This is How We Walk On The Moon”, Malmö Konsthall, Malmö (2008); ”Forever Changes”, Museum für Gegenwartskunst, Basel and ”Keep on Doing”, Dundee Contemporary Arts, Dundee (2007). She has participated in survey shows such as 4th Auckland Triennial, ”Last ride in a hot balloon”, Auckland (2010), Documenta 12, Kassel (2007); Singapore Biennale (2006), 9th Istanbul Biennial; 1st Moscow Biennale (2005) and 50th Venice Biennale (2003).</p> </div> <div class="rightcon"></div> <p></p> <div class="float"><b href=""> </b></div> Mon, 28 Jan 2013 00:27:59 +0000 Matthew Metzger - Kavi Gupta Gallery - February 9th, 2013 4:00 PM - 7:00 PM <p style="text-align: justify;">Kavi Gupta Gallery CHICAGO is proud to present Matthew Metzger's <i>Waver</i>, the artist's first exhibition with the gallery. <br /> <br /> The three works in this exhibition stem from Metzger's ongoing inquiry into Abstraction, and its relationship to the copy as a way of positioning painting between the limits of figuration and the sign. <br /> <br /> Previously known to viewers as <i>Ghost,</i> a work that Metzger originally exhibited at the Smart Museum of Art at the University of Chicago,<i>Apparition</i> (2013) now stands simultaneously as a new work and a ‘picture’ of its past. The approach here is epitomic of Metzger's practice as it oscillates between sign and object, image and body. <i>Apparition</i> retains all of the marks and scrapes on its surface from weather and traction as museum goers leaned against and brushed its surface throughout its duration at the Smart Museum. Marks that when framed and re-presented as such, serve to depict its past signifying certain histories. <br /> <br /> The other two exhibited works – entitled <i>The Other Side of One and Three Signs (Left)</i> and <i>The Other Side of One and Three Signs (Right)</i> (both works 2013) - emphasize Metzger's ongoing interest into the awkward incongruity found between a sign and its support/ground. The shape refers to a particular street sign, as each is painted Ultimatte Green (a specific video green used for maintaining extreme detail in a subjects silhouette while compositing two images in television post-production) all-the-while functioning as a provisional “ground” for issuing the body an artificial and temporary context to occupy through mediation. Each of these two works also depict the shadow of each side of a clamp that becomes twisted in its depiction as it points outward, in front of the paintings surface, to the space of viewing. <br /> <br /> Likewise, here the viewing space of <i>Waver</i> again points outward, as Metzger has chosen to paint the walls of this exhibition the color of the specific viewing room at The National Gallery in Washington D.C. where Edouard Manet’s painting <i>The Dead Man (The Dead Toreador)”</i> currently hangs. For Metzger, this particular Manet painting has been the entry point to his use of the Scuba "Diver Down” emblem project since 2010. For this reason, color serves as a vector, a backdrop, and an atmosphere simultaneously. <br /> <br /> Like many of Metzger's paintings, the works draw such great attention to the material qualities of the represented thing that what is represented inherently begins to abstract itself, obfuscating one's notions of language and naming. The recurring embodiment of this in Metzger's work is the sign. Much like the figure in its relationship to figure painting, Metzger employs the sign – SCUBA signs and other transportation signs - as a flattening of what is represented and its form. For the artist, the dismantling of the historical distance between a form and its content can be mobilized by the abstraction found when the two become indistinguishably close.</p> Mon, 28 Jan 2013 00:31:02 +0000 - Museum of Contemporary Art (MCA) - February 9th, 2013 11:00 AM - 3:00 PM <p style="text-align: justify;"><b>Family Days</b> take place every second Saturday of the month from 11 am to 3 pm at the <b>Museum of Contemporary Art</b> from October to May.  Activities are appropriate for all ages unless otherwise noted. The MCA invites families to learn about the art of our time through hands-on art activities, scavenger hunts, Look &amp; Learn stations, and more. This February, inspired by Valentine’s Day, explore emotions through hands –projects and enjoy celebrating the love of art.</p> <p style="text-align: justify;">Puck’s deal on Family Day: <strong>Children 12 and under are our special guests—receive 50% off with a purchase of one adult entrée!</strong></p> <p><strong><b>Free for families with kids 12 and under</b></strong></p> <p><strong> </strong></p> Sat, 02 Feb 2013 01:43:21 +0000 Neil Frederick Vandenbergh, Marcel Alcala, Lauren Anderson, Luis Miguel Bendaña, Andrew Mausert-Mooney - ADDS DONNA - February 10th, 2013 1:00 PM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">ADDS DONNA presents Surfin’, a group exhibition </span><br /><span style="font-size: small;"> featuring the work of Marcel Alcala, Lauren Anderson, </span><br /><span style="font-size: small;"> Luis Miguel Bendaña, Andrew Mausert-Mooney and Neal Frederick Vandenbergh.</span><br /> <br /><span style="font-size: small;"> Surfin’</span><br /><span style="font-size: small;"> Feb. 10, 2013 thru March 17, 2013 </span><br /><span style="font-size: small;"> Opening reception Feb. 10, 2013, from 1 - 5pm. </span><br /> <br /><span style="font-size: small;"> Surfin’ strives to conjure a dialogue between surface making and surface reading. By regarding surface not as a thing but as an action, and playing into the artworks’ laid-back character, surfin’ becomes a language – a slang spoken through the work of these five artists. Their mutual fluency provides a codex for the viewer to interpret their otherwise hypnotic vernacular. </span><br /> <br /><span style="font-size: small;"> Subject matter is skimmed from the world (IRL) for these makers and approached casually (NBD). Yet their nonchalant attitude is not without thought. These quick gestural acts proceed from contemplation, however abbreviated. All raise a question of the representation and disfiguration of language. </span><br /> <br /><span style="font-size: small;"> Is this the pulse of a generation – one bred on voyeuristic participation and instant gratification? In any case it seems for these artists that viewership and authorship are no longer at odds. “Artist as-observer” and “observer-as-artist” blend beautifully in this world of mixed sincerity. </span><br /> <br /> <br /><span style="font-size: small;"> Marcel Alcala’s collaged paintings incorporate snapshots of vague social intercourse. His off-hand pairings and cheeky gestures declare the viewer as voyeur, exacerbating the allure of the images’ decontextualized frivolity. </span><br /> <br /><span style="font-size: small;"> Lauren Anderson explores the possibilities of freedom and constraint within abstraction. Her monoprints adhere to a set of formal rules loosely based on the principles of Yin and Yang. </span><br /> <br /><span style="font-size: small;"> Luis Miguel Bendaña abstracts words that carry sensual connotation. His gestural respellings of words like gorgeous and meow add a cool literalness to reading the work. </span><br /> <br /><span style="font-size: small;"> Andrew Mausert-Mooney and Neal Vandenbergh share a collaborative practice that investigates embodied intersubjectivity and discourse in public space. The video presented for Surfin’ awakens an uncomfortable consciousness as viewers witness the awkward deliberations of its interviewees.</span><br /> <br /> <br /><span style="font-size: small;"> ADDS DONNA</span><br /><span style="font-size: small;"> 4223 W Lake </span><br /><span style="font-size: small;"> Chicago IL 60624</span><br /><span style="font-size: small;"> Open Sundays from 1 – 4pm and by appointment. </span><br /><span style="font-size: small;"> <a href="" rel="nofollow" target="_blank"></a></span><br /><span style="font-size: small;"></span></p> Sun, 17 Feb 2013 06:16:53 +0000 - Museum of Contemporary Art (MCA) - February 12th, 2013 6:00 PM - 8:00 PM <p></p> <p></p> <p><b>Culture Catalysts</b> at the <b>Museum of Contemporary Art </b>is a monthly series that provides a platform for Chicago-based influencers involved with  art, cuisine, music, fashion, literature, and to share about their work. The February event features<b> Carolina O. Jayaram</b> of Chicago Artist Coalition and <b>Abigail Satinsky</b> of <b>threewalls</b> in a conversation on how a venue puts down community roots and weathers a shifting arts climate.</p> <p>Carolina O. Jayaram<b> </b>is a licensed attorney and community activist who creates ambitious programming geared towards empowering artists to thrive in the creative sector. She recently oversaw the acquisition of the Chicago Artists Resource website from the City’s Department of Cultural Affairs which further expands the organization to serve the theater, dance, literary and music communities.</p> <p>Abigail Satinsky is the Program Director at threewalls in Chicago and a member of InCUBATE, a research collaborative dedicated to art economies. She's a regular contributor to Bad at Sports podcast and blog and has written for Proximity Magazine, AREA Chicago, Journal of Aesthetics and Protest, <i>The Artist-Run Chicago Digest.</i></p> <p><i>Free for Illinois residents</i></p> <p> </p> Sat, 02 Feb 2013 01:40:18 +0000 Group Show - Smart Museum of Art, University of Chicago - February 13th, 2013 7:00 PM - 8:30 PM <p style="text-align: justify;">Since 1989, the influential Delhi-based Sahmat has offered a platform for artists, writers, poets, musicians, actors, and activists to create and present works of art that promote artistic freedom and celebrate secular, egalitarian values.</p> <p style="text-align: justify;">The collective formed in the weeks after playwright, actor, and activist Safdar Hashmi was fatally attacked by political thugs while performing a street play. In the more than twenty years since, Sahmat has drawn on India’s secular heritage and an expansive group of collaborators to produce a series of projects that engage in important political and social debates through a mix of high art and street culture. This exhibition will introduce Sahmat's work to the United States through a survey of art and ephemera while assessing the impact this unique—and sometimes controversial—collective has had on contemporary Indian society and artistic practice.</p> Sat, 02 Feb 2013 02:11:12 +0000 Craig Norton - Carl Hammer Gallery - February 15th, 2013 5:30 PM - 8:00 PM <p style="text-align: justify;">Carl Hammer Gallery proudly introduces <a href="" target="_blank" shape="rect">Craig Norton </a> to Chicago in his first solo exhibition here.  Hailing from St. Louis, the self-taught Norton uses his art as a call for social activism using three-dimensional depictions of the realities of war, prejudice, aging, street conflict, physical and verbal abuse, family discord, etc.  Uniquely, his socially minded constructions are a combination of drawings and collages layered on top of wood cut-outs, built into complex, panoramic wall sculptures.  The human figure(s) serves as the focal point of each large installation.  Hands and faces, images of which are taken from newspaper stories, history books and from Norton's own picture-taking, are drawn with expressive, almost photographic realism, and the figures themselves are clothed, paper-doll like, in garments fashioned from collaged wallpaper.</p> <p style="text-align: justify;">Norton sees himself and his art akin to being on a mission pointing out the failings of society and the people who are victimized within it.  From actual interviews of the victimized to television news reports to film documentaries, his investigation leads to poignant portrayals which, in turn, become his art.  Ultimately, from the process, the success of Norton's missionary-like zeal emerges from the expressive body language of his figures, creating for the viewer both a sense of awareness and empathy with them and their emotions.  In her review of Norton's 2012 New York exhibition, <span style="text-decoration: underline;">NYTimes</span> critic Roberta Smith wrote: <i>But the tension, between the reportorial and the subjective, between the ordinary and the loopishly cartoonish, and above all between watching events unfold and being there, feeling them in all the madness and motion of life, is extraordinary.  </i></p> <p style="text-align: justify;">In <i>Dropping Mom Off At The Old Folks Home</i>, Norton aptly portrays our human terror of getting old, and he touches us by identifying that, with getting old, there comes a resulting, growing loneliness and sense of worthlessness.  While the artist poses no concrete solution to these or other social dilemmas, his art, by its frankness and compassion, allows us to honestly confront and respond to them.</p> Sun, 17 Feb 2013 01:06:22 +0000 Carla Kihlstedt, Phyllis Chen - Museum of Contemporary Art (MCA) - February 16th, 2013 7:30 PM - 9:00 PM <p><b>MCA Stage: ICElab: Carla Kihlstedt and Phyllis Chen</b></p> <p style="text-align: justify;">The <b>MCA Stage</b> continues the third season of its three-year <b>ensemble-in-residence</b> with <b>ICE (International Contemporary Ensemble)</b>. The second concert of the season features two American female composers/musicians who create uniquely accessible and intriguing soundscapes: <b>Phyllis Chen</b>’s chamber cycle <i>Chimers </i>is an atmospheric work scored for toy piano, electronics, wind instruments, and video. <b>Carla Kihlstedt</b>’s <i>At Night We Walk in Circles and Are Consumed by Fire</i> is based on dreams and their mirror to one’s waking life. Both pieces were commissioned through the ICElab new works program and developed in collaboration with the ensemble. The composers join ICE on stage as featured performers. The concert is part of the MCA Stage’s ongoing new music celebration, called <b>The Composers Stage</b>.</p> <p style="text-align: justify;">Tickets $28, members $22, students $10</p> <p> </p> <p> </p> Sat, 02 Feb 2013 01:37:53 +0000 Group Show - Museum of Contemporary Art (MCA) - February 16th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;" class="first_child"><em class="first_child">Destroy the Picture: Painting the Void, 1949–1962</em> focuses on one of the most significant developments in contemporary abstract painting: the artist’s literal assault on the picture plane. Responding to the physical and psychological destruction wrought by World War II—especially the existential crisis resulting from the atomic bomb—artists ripped, cut, burned, and affixed objects to the canvas in lieu of paint. <em></em><em class="last_child">Destroy the Picture</em> emphasizes this internationally shared artistic sensibility in the context of devastating global change and dynamic artistic dialogues, offering an innovative and expansive view of art making in the postwar period.</p> <p style="text-align: justify;">As artists from war-torn countries like Italy and Japan—including Lucio Fontana, Alberto Burri, Kazuo Shiraga, and Shozo Shimamoto—channeled their ruined surroundings into artistic form, artists throughout the world—such as Yves Klein and Niki de Saint Phalle in France, John Latham in the United Kingdom, Robert Rauschenberg and Lee Bontecou in the United States, Otto Müehl in Austria, and Manolo Millares in Spain, among others—pursued similar approaches and strategies. <em class="first_child last_child"><em class="first_child last_child">Destroy the Picture</em></em> presents an opportunity to reconsider the profound repercussions of this remarkably coherent approach in painting, from artists’ early experiments with translating gestures into materials to their emphasis on a rupture between two and three dimensions, as well as the expansion of the painting medium to incorporate performance, assemblage, and time-based strategies. In many cases, the exhibition places the work of now-established artists back into the radical context in which it originally emerged.</p> <p style="text-align: justify;"><em class="first_child last_child"><em class="first_child last_child">Destroy the Picture</em></em> features approximately 100 works created between 1949 and 1962 by artists from eight countries, including Lee Bontecou, Alberto Burri, Lucio Fontana, Salvatore Scarpitta, and Kazuo Shiraga, in addition to Gérard Deschamps, François Dufrêne, Jean Fautrier, Adolf Frohner, Raymond Hains, Yves Klein, John Latham, Gustav Metzger, Otto Müehl, Manolo Millares, Saburo Murakami, Robert Rauschenberg, Niki de Saint Phalle, Shozo Shimamoto, Antoni Tàpies, Chiyu Uemae, Jacques Villeglé, Wolf Vostell, and Michio Yoshihara.</p> <p style="text-align: justify;">This exhibition is organized for the Museum of Contemporary Art Los Angeles by former Chief Curator Paul Schimmel and is overseen at MCA Chicago by James W. Alsdorf Chief Curator Michael Darling.</p> <p></p> Mon, 25 Feb 2013 22:14:26 +0000 Tom McCormick - Museum of Contemporary Art (MCA) - February 19th, 2013 6:30 PM - 8:00 PM <p><b>MCA: Internet Superheroes Art and Technology</b></p> <p><b>Tom McCormick: Compilation Nation, The Rise of the Supercut</b></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Every third Tuesday of the month at the Museum of Contemporary Art explore the intersection between art, technology and the internet as we meet the brilliant minds who make the virtual world more interesting. This February <b>Tom McCormick</b> traces the history and pre-history of “supercuts,” online videos that compile patterns or tropes from popular culture. Supercuts recall some of the 20th century’s most notable avant-garde film and video art and have become one of the 21st’s most important popular genres.</p> <p></p> <p>FREE for Illinois residents</p> Sat, 02 Feb 2013 01:34:25 +0000 Fritz Haeg - Graham Foundation - February 20th, 2013 6:00 PM - 8:00 PM <p>Establishing a plant-animal-people trilogy with the <em>Edible Estates</em> (est. 2005) series of front yard food gardens and the <em>Animal Estates</em> (est. 2008) initiatives for urban wildlife architecture, <em>Domestic Integrities</em> (est. 2012) turns its attention inward to local patterns and rituals of interior domestic landscapes and the way we use what we resourcefully find around us to artfully make ourselves at home. “Domestic Integrity Fields” are charged sites—on crocheted rugs of discarded textiles—to  test, perform, and present how we want to live. One rug in each continent gradually expands as it travels from city to city. In the United States, the series began during fall 2012 at the Museum of Modern Art and the new Broad Museum of Art at Michigan State University, followed by The Hammer Museum of Art in spring 2013, the deCordova Museum in the summer, and at the Walker Art Center in the fall. In Europe the project is taking place at Pollinaria in Abruzzo, Italy in 2012-2013.</p> <p>In 2012, Haeg received a Graham Foundation grant for Edible Estate #12: Budapest, Hungary, produced with Blood Mountain Foundation. More about the project <strong><em><a href="" rel="nofollow">here</a></em></strong>.</p> <p>On February 19, Haeg will speak at <em>Architecture is Activism…FOOD!</em>, a panel discussion hosted by the Chicago Architecture Foundation and supported by a grant from the Graham Foundation. More about the project <strong><em><a href="" rel="nofollow">here</a></em></strong>.</p> <p><strong>Fritz Haeg</strong>'s work has included edible gardens, public dances, educational environments, animal architecture, domestic gatherings, urban parades, temporary encampments, documentary videos, publications, exhibitions, websites, and occasionally buildings for people. Recent projects include <em>Sundown Schoolhouse</em>,  an itinerant educational program; <em>Edible Estates</em>, an international series of domestic edible landscapes; and <em>Animal Estates</em>, a housing initiative for native animals in cities around the world which debuted at the 2008 Whitney Biennial. Haeg is a 2010-2011 Rome Prize Fellow and has taught in architecture, design, and fine art programs at Princeton University, Cal Arts, Art Center College of Design, Parsons School of Design, and the University of Southern California. Haeg has produced projects and exhibited work at MoMA; Tate Modern; the Hayward Gallery; the Liverpool Biennial; the Whitney Museum of American Art; SFMoMA; SALT Beyoglu, Istanbul; Casco, Utrecht; Stroom, Den Haag; Arup Phase 2, London; Blood Mountain Foundation, Budapest; The Indianapolis Museum of Art; Mass MoCA; The Institute of Contemporary Art, Philadelphia; among others. Recent books include <em>The Sundown Salon Unfolding Archive</em> (Evil Twin Publications, 2009), <em>Edible Estates: Attack on the Front Lawn</em> (Metropolis Books, 2nd ed., 2010), and <em>Roma Mangia Roma</em> (Nero, expected Spring 2013).</p> Mon, 04 Feb 2013 16:14:20 +0000 Martin Kastner - Museum of Contemporary Art (MCA) - February 20th, 2013 6:00 PM - 8:00 PM <p><b>MCA: Culture Catalyst:  </b><em><b>Martin Kastner of Alinea</b></em></p> <p>Tuesday, March 12, 2013 6 pm</p> <p>Free for Illinois residents</p> <p> </p> <p><b>Culture Catalysts</b> at the <b>Museum of Contemporary Art </b>is a monthly series that provides a platform for Chicago-based influencers involved with  art, cuisine, music, fashion, literature, and to share about their work. The March event features<em><b> </b></em><em><b>Martin Kastner</b></em> was born in the Czech Republic, trained as a blacksmith and spent some time restoring historical metalworks at a castle in Western Bohemia before moving onto natural materials design and sculpture. His serviceware concepts helped put Alinea and Chef Grant Achatz at the pinnacle of contemporary cuisine.<strong> He</strong> is also the founder and principal of Crucial Detail.</p> Wed, 20 Feb 2013 20:00:23 +0000 Lou Mallozzi - Museum of Contemporary Art (MCA) - February 20th, 2013 1:00 PM - 3:00 PM <p><b>MCA: In-gallery Lou Mallozzi’s Didact Performance</b></p> <p>Sunday, March 10, 2013, 1 pm</p> <p>Free with museum admission</p> <p><i> </i></p> <p><em>Didact</em> is a simultaneous reading by four people of all the interpretive labels for all the artworks in <a href="" rel="nofollow"><em>Destroy the Picture: Painting the Void, 1949–1962</em></a>. For each reading, artist Lou Mallozzi is accompanied by an art historian and several MCA docents. For the March performance, David Getsy will accompany Mallozzi through the galleries. Spoken quietly but insistently, the verbalized version of these labels transforms information into an undulating auditory atmosphere for the artworks and the viewers in each gallery, calling attention to the institutional, educational, contemplative, social, historical, and architectural contexts of the museum experience.</p> <p> </p> <p><strong>David Getsy</strong> is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His research focuses on modern and contemporary art in Europe and America, with an emphasis on histories of sculpture and performance.</p> Wed, 20 Feb 2013 20:02:27 +0000