BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Public gallery talk with the artist\, curator Janine Mileaf\ , and Gaylen Gerber.

DTEND:20150916T140000 DTSTAMP:20150803T214426 DTSTART:20150916T130000 GEO:41.893137;-87.622414 LOCATION:The Arts Club of Chicago\,201 E. Ontario St. \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:Gallery Talk\, Kerstin Brätsch UID:391821 END:VEVENT BEGIN:VEVENT DESCRIPTION:
The Arts Club of Chicago \; is pleased to announce \;Kerstin Brä\;tsch: PELE&rsquo\;S CURSE \, the New York City-based German painter&rsquo\;s first solo institut ional exhibition in the United States\, which will run from Tuesday 15 Sept ember through Saturday 19 December. Coming to prominence in the United Stat es after her inclusion in the New Museum&rsquo\;s first Generational Trienn ial \;Younger Than Jesus \;in 2009\, Brä\;tsch (b. 196 9) established her identity as both a solo artist and as a member of variou s  \;collective efforts\, principally DAS INSTITUT with Adele Rö\;d er (2007-present) and KAYA with Debo Eilers (2010- present).
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 \;At The Arts Club\, Br&a uml\;tsch brings together a trio of investigations that begin with the prem ise of painting and attempt to break it open through visual\, linguistic\, and methodological associations. Working with skilled artisans from Europe\ , Brä\;tsch has made paintings that are not paintings anymore\, or pain tings in forms we do not initially recognize&mdash\;paper marbling\, baked antique glass and sliced agate\, and stained glass &ldquo\;brushstrokes.&rd quo\; With Dirk Lange (a master marbler from Germany)\, she has devised a t echnique that allows traditional paper marbling to succeed on a grand scale . These monumental works play on the connections between the technique of m arbling\, done by dropping ink into a basin of carageenan\, and the radical rotation of the painting canvas to the horizontal plane by Jackson Pollock in the 1940s. Brä\;tsch\, however\, allows the orbs and constellations in the resulting pigment formations to accrue meanings and visual associat ions in a manner anathematic to mid-century abstraction. Her paintings are purposefully associative and occult&mdash\;drawing to mind Hawaiian volcano goddesses\, Japanese anime\, and esoteric \;dinosaurs.
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Brä\;tsch transitions from paper to glass through a play on words that\, like Duchamp&rsquo\;s maladro it puns between English and French\, often rely on her translations of thou ght from German to English. She has explained that she mistakenly referred to the marblings as marbles\, but now has used that confusion to understand how a tiny glass ball is\, like the marbling ink\, also a &ldquo\;drop&rdq uo\; of color. More profound\, however\, is the recognition that glass and painting each begin with light and shadow. Rather than explore those fundam entals in their pure state\, as the twentieth-century abstract painters tri ed to do\, Brä\;tsch embraces infiltrations of outside meaning. Formed through intense heat\, glass\, lava\, and agate become surrogates of painti ng&rsquo\;s contaminated stroke.
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The Arts Club exhibition furthers Brä\;tsch&rsquo\;s n on-purist position through collaboration. She has engaged Chicago-based art ist Gaylen Gerber\, whose practice consists in curating the work of others into spaces and situations of his invention\, to design the exhibition. Tex tile works that draw on Brä\;tsch&rsquo\;s marbling patterns by Mariech en Danz will also be featured. The exhibition catalogue also highlights pas t collaborations between Brä\;tsch and fellow artists.
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Born in Hamburg\, Germany\, Kers tin Brä\;tsch studied with Lothar Baumgarten at the University of Arts in Berlin\, and received her MFA in 2007 from Columbia University School of the Arts\, New York. Select exhibitions include Hamburger Bahnhof\, Berlin \; Museum of Modern Art\, New York\,  \;Fridericianum\, Kassel (as KAYA )\,  \;KUB Kunsthaus Bregenz (as KAYA)\,  \;Kunstverein Arnsberg\, Kö\;lnischer Kunstverein\, Cologne (with DAS INSTITUT)\, Kunsthalle Zur ich\, Zurich (with Adele Rö\;der)\, The 54th Venice Biennial\, Venice ( as DAS INSTITUT)\, MoMA/ PS1\, New York (with DAS INSTITUT and UNITED BROTH ERS)\, Gwangju Biennial\, Gwangju\, Sculpture Center\, New York (as DAS INS TITUT)\, New Museum\, New York (with DAS INSTITUT)\, Museum of Contemporary Art\, Chicago\, and Museum of Contemporary Art\, Los Angeles (as DAS INSTI TUT). She lives and works in New York.
DTEND:20151219 DTSTAMP:20150803T214426 DTSTART:20150915 GEO:41.893137;-87.622414 LOCATION:The Arts Club of Chicago\,201 E. Ontario St. \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:[Pele's Curse]\, Kerstin Brätsch UID:391819 END:VEVENT BEGIN:VEVENT DTEND:20150915T190000 DTSTAMP:20150803T214426 DTSTART:20150915T180000 GEO:41.893137;-87.622414 LOCATION:The Arts Club of Chicago\,201 E. Ontario St. \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:[Pele's Curse]\, Kerstin Brätsch UID:391820 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Skandoughless(TM) is an up-and -coming fashion performance label created by artist Lindsay Cashews in 2013 . Cashews found that her visual art was becoming stagnate in the gallery\, and decided that fashion and performance were the next step. She combines c onsiderations of classicism\, collapsed hierarchy\, pop culture and gender performance in the work. She then writes music to soundtrack it on the runw ay\, such as Mcqueen had before her.

The brand is used on the runway to create performances and spectacle\, as well as wearable pieces of art that can be taken to street fashion.

Skandoughless(TM) de buted on the runway at Cleveland&rsquo\;s Agora Theater on September 25\, 2 014\, featuring a chain maille dress made link-by-link.

Her wo rk is based in Detroit\, MI\, and will be taken to New York fashion week in September 2015.

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Saturday\, August 15 th 7-10 PM: A reception at the gallery

Sunday\, August 16th 7 PM: Performance

DTEND:20150816 DTSTAMP:20150803T214426 DTSTART:20150815 GEO:41.9006857;-87.6623192 LOCATION:Roots & Culture\,1034 N. Milwaukee \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Skandoughless Fashion Show\, Lindsay Cashews UID:391257 END:VEVENT BEGIN:VEVENT DTEND:20150815T220000 DTSTAMP:20150803T214426 DTSTART:20150815T190000 GEO:41.9006857;-87.6623192 LOCATION:Roots & Culture\,1034 N. Milwaukee \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Skandoughless Fashion Show\, Lindsay Cashews UID:391258 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151024 DTSTAMP:20150803T214426 DTSTART:20150911 GEO:41.883811;-87.6501229 LOCATION:Rhona Hoffman Gallery\,118 North Peoria St. \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Back and Forth\, Nathaniel Mary Quinn UID:391255 END:VEVENT BEGIN:VEVENT DTEND:20150911T200000 DTSTAMP:20150803T214426 DTSTART:20150911T180000 GEO:41.883811;-87.6501229 LOCATION:Rhona Hoffman Gallery\,118 North Peoria St. \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Back and Forth\, Nathaniel Mary Quinn UID:391256 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151024 DTSTAMP:20150803T214426 DTSTART:20150912 GEO:41.8830194;-87.648947 LOCATION:Kavi Gupta Gallery\,835 West Washington \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Solo Exhibition\, Scott Reeder UID:391253 END:VEVENT BEGIN:VEVENT DTEND:20150912T200000 DTSTAMP:20150803T214426 DTSTART:20150912T180000 GEO:41.8830194;-87.648947 LOCATION:Kavi Gupta Gallery\,835 West Washington \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Solo Exhibition\, Scott Reeder UID:391254 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20160116 DTSTAMP:20150803T214426 DTSTART:20150912 GEO:41.886144;-87.658572 LOCATION:Kavi Gupta Chicago - Elizabeth Street\,219 N. Elizabeth Street \nC hicago\, Illinois 60607 SEQUENCE:0 SUMMARY:Assisted\, Laylah Ali\, Polly Apfelbaum\, Anthony Caro\, Patrick Ch amberlain\, Cheryl Donegan\, Jessica Jackson Hutchins\, Nancy Lupo\, Rebecc a Morris\, Sam Moyer\, Jo Nigoghossian\, Michael Queenland\, Kay Rosen\, Ha im Steinbach\, Tony Tasset UID:391251 END:VEVENT BEGIN:VEVENT DTEND:20150912T200000 DTSTAMP:20150803T214426 DTSTART:20150912T180000 GEO:41.886144;-87.658572 LOCATION:Kavi Gupta Chicago - Elizabeth Street\,219 N. Elizabeth Street \nC hicago\, Illinois 60607 SEQUENCE:0 SUMMARY:Assisted\, Laylah Ali\, Polly Apfelbaum\, Anthony Caro\, Patrick Ch amberlain\, Cheryl Donegan\, Jessica Jackson Hutchins\, Nancy Lupo\, Rebecc a Morris\, Sam Moyer\, Jo Nigoghossian\, Michael Queenland\, Kay Rosen\, Ha im Steinbach\, Tony Tasset UID:391252 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*A new exhibition of original work by Jessica Stockholder. DTEND:20160116 DTSTAMP:20150803T214426 DTSTART:20150912 GEO:41.886144;-87.658572 LOCATION:Kavi Gupta Chicago - Elizabeth Street\,219 N. Elizabeth Street \nC hicago\, Illinois 60607 SEQUENCE:0 SUMMARY:Door Hinges\, Jessica Stockholder UID:391249 END:VEVENT BEGIN:VEVENT DTEND:20150912T200000 DTSTAMP:20150803T214426 DTSTART:20150912T180000 GEO:41.886144;-87.658572 LOCATION:Kavi Gupta Chicago - Elizabeth Street\,219 N. Elizabeth Street \nC hicago\, Illinois 60607 SEQUENCE:0 SUMMARY:Door Hinges\, Jessica Stockholder UID:391250 END:VEVENT BEGIN:VEVENT DESCRIPTION:

**

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DTEND:20151031 DTSTAMP:20150803T214427 DTSTART:20150912 GEO:41.8830194;-87.648947 LOCATION:Carrie Secrist Gallery\,835 W. Washington Blvd. \nChicago\, IL 606 07 SEQUENCE:0 SUMMARY:Appropinquation UID:391248 END:VEVENT BEGIN:VEVENT DESCRIPTION:

RE|PRODUCTION is part of a series of exhibitions (organized by Michael Hall and Aron Gen t) inviting both local and international artists to work on an exhibition a nd collaborate with the (in-house) production of a new work at Document.

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Document presents new context-specific works from Alice Konitz\, Lasse Schmidt Hansen\, and Sterling Lawrence\; three artists who each reproduce objects\, either through de-contextualization or re-present ing forms of architectural displacement. This exhibition conceptually links to an earlier exhibition of Marcus Geiger &\; Margaret Welsh\, which was presented at Document earlier this year. The series will come together next for the September exhibition with Sean Snyder&r squo\;s &ldquo\;Re-Convergence (Algorithmic Archaeology)\,&rdquo\; which will be his first US solo exhibition since his Artists Space exhibit ion in 2011.

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Alice Konitz sculptural works border on the edge of existing as architecture eithe r as small models or sculptures. Conceived initially as small models or ske tches\, they sometimes reappear in her work as life size sculptural objects with names like Taco Stand\, etc. Often the materials she chooses (Cardboa rd\, mirrored foils) often force the viewer to rethink the (architectural) object\; as these materials are often metaphorical stand-ins for other mate rials. For example &ldquo\;Untitled&rdquo\; (2015) which has been reproduce d at Document\, started out as a small model based on the memory of a table at a Swedish rest-stop. This sculpture\, which functions as part table\, p art trashcan\, was based on architectural drawings that were created to pro duce the object life-size. Through these gaps in memory and technical repro duction this object becomes a unique sculptural object through minor adjust ments in size\, material\, and general placement within the gallery space.< /p>\n

Lasse Schmidt Hansen presents a grouping of black molleton fabrics entitled &ldquo\;Dismantled&r dquo\; (2014 &ndash\; Present). These fabrics were origi

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RE|PRODUCTION is part of a series of e xhibitions (organized by Michael Hall and Aron Gent) inviting both local an d international artists to work on an exhibition and collaborate with the ( in-house) production of a new work at Document.

\n

Document presents new context-specific works from Alice Konitz\, Lasse Schmidt Hansen\, and Sterl ing Lawrence\; three artists who each reproduce objects\, either through de-contextualization or re-presenting forms of architectura l displacement. This exhibition conceptually links to an earlier exhibition of Marcus Geiger &\; Margaret Welsh\, which was presen ted at Document earlier this year. The series will come together next for t he September exhibition with Sean Snyder&rsquo\;s &ldquo\; Re-Convergence (Algorithmic Archaeology)\,&rdquo\; which will be his first US solo exhibition since his Artists Space exhibition in 2011.

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Alice Konitz sculptural works bo rder on the edge of existing as architecture either as small models or scul ptures. Conceived initially as small models or sketches\, they sometimes re appear in her work as life size sculptural objects with names like Taco Sta nd\, etc. Often the materials she chooses (Cardboard\, mirrored foils) ofte n force the viewer to rethink the (architectural) object\; as these materia ls are often metaphorical stand-ins for other materials. For example &ldquo \;Untitled&rdquo\; (2015) which has been reproduced at Document\, started o ut as a small model based on the memory of a table at a Swedish rest-stop. This sculpture\, which functions as part table\, part trashcan\, was based on architectural drawings that were created to produce the object life-size . Through these gaps in memory and technical reproduction this object becom es a unique sculptural object through minor adjustments in size\, material\ , and general placement within the gallery space.

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Lasse Schmidt Hansenpresents a grouping of bl ack molleton fabrics entitled &ldquo\;Dismantled&rdquo\; (2014 &ndash\; Pre sent). These fabrics were originally used in theatres\, photo studios\, or galleries and their general purpose serves to block out light sources in ga lleries or black boxes. Generally these objects are part of the (gallery) i nventory and are often kept for re- use. These remnants contain indexical t races of the original architectural spaces from which they were used\, alon g with nail holes\, plaster\, and staples. By re-presenting these spatial f ragments the original space becomes partially reassembled within Document.< /p>\n

Sterling Lawrence&rsquo\;s \;Rack 03 is a sculpture that references a sens ibility of use\, which is intentionally left unclear as to what specificity this use was intended for. Studies for the form started with investigation s into the skeletal supports of magazine racks. In the process of making th e work\, size sifted from a traditional floor magazine rack found next to a reading chair to something different. Lawrence shortened the legs\, and ex aggerated the length of the piece to the length of his own body. In doing s o\, the form began to resemble a cot in scale\, however the elastic bands k ept to the interior form of that found in initial studies of magazine racks . The work itself is a model for a study of translation\; it becomes someth ing new and in turn revealing a state of confusion\, which questions both p latforms and circumstances.

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Artists Bios:

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Alice Konitz (Born in Germany\, lives in Los Angeles ). Since 2012\, Konitz runs LAMOA Space and in 2014 she became the winner o f the Mohn Award at the UCLA Hammer Museum (Los Angeles) through her partic ipation in the &ldquo\;Made in L.A.&rdquo\; Exhibition. She also participat ed in the 2008 Whitney Biennale. Solo Exhibitions include: Galerie naechst St. Stephan in Vienna (upcoming)\, LAXART (Los Angeles)\, Susanne Vielmette r (Los Angeles and Berlin)\, Hudson Franklin (NY)\, and LACE (Los Angeles).

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Lasse Schmidt Hansen(Born in Denmark\, lives in Copenhagen and Berlin). Recent solo exhibition s include Christian Andersen (Copenhagen)\, Galerie Hussenot (Paris)\, and Galerie Reinhard Hauff (Stuttgart).

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< strong>Sterling Lawrence (Born in the United States of America\, L ives in Chicago) has had solo exhibitions with Devening Projects + Editions \, Chicago\; and Tony Wight Gallery\, Chicago. Lawrence has been included i n group exhibitions at Scotty Enterprises\, Berlin\; Soloway\, NY\; Columbi a College\, Chicago\; Devening Projects + Editions\, Chicago\; and New Capi tal via Forever and Always\, Chicago.

DTEND:20150829 DTSTAMP:20150803T214427 DTSTART:20150724 GEO:41.8828957;-87.6491559 LOCATION:Document\,845 w Washington Blvd. 3f \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:RE|PRODUCTION\, Alice Könitz\, Lasse Schmidt Hansen\, Sterling Lawr ence UID:391245 END:VEVENT END:VCALENDAR