Sarah H. Reynolds and Fuyumi Murata collaborate on this second iteration of Unstable to once again explore their shared interests in mimicry, ambiguity, and shadows. The first iteration of this project took place in Hiketa, Japan. Using found objects and documentation through photography and painting these two artists create site specific installations in an attempt to unsettle the viewer’s very idea of what and object is and how it can exist in the world. While Reynolds and Murata were working on the first iteration of this project they would walk the gardens of Hiketa noting how the very concept of the garden was something incredibly malleable. In one moment it can imagined as a pristine thing, but venture around the bend of a path and one is met with a verdant wilderness. Shape and form come into question as properties of an object that are by no means fixed. Unstable puts the onus of interpretation on the viewer, accounting for the inevitably variable lens through which each individual will encounter an object.
The context of Chicago presents a unique opportunity for this project to exist in a new way. Murata makes her first trip to the city for this collaboration. The methodology remains constant, each artist determined to find objects that resonate with them in some way before continuing on to the documentation and installation process. What presents itself as an object of import will undoubtedly be informed by both artists’ backgrounds and making practices. Their collaborative work brings together objects that articulate concepts of shape, line, form, shadow, texture, time, and scale in such a way that the final installation sheds like on the multiplicity of meanings that a given object can have should there be space enough for diverse interpretation.
Unstable: not firm or fixed, not constant, prone to change, not stable
This project invites viewers to broaden their thinking on places that are considered "public". Who designated them? Who visits them? What happens there? From the squares, to parks, to institutions, the very idea of "public space" turns out to be an incredibly malleable thing.
Through a series of recordings of the Cascata delle Marmore, the spectators are immersed in a sound experience. Water becomes a metaphor of what possesses the ability to cross boundaries, serving as a space for free time, although potentially a highly contested thing. While the Terni Festival 2018 hypothesizes what mankind would do with the possibility of traveling and living on the Moon, water presents itself as something vital and once again its symbolism can take on many meanings.
Water stands out as a metonymy for social fabrics and leisure spaces during the course of this installation. The public space of this site-specific project is built to be composed of different levels and able to contain multiple meanings for each given person - the river that divides Terni is just a few meters away, for example. Abbatangelo weaves together the sonic vestiges of the water to create a soundscape, stratifying these single pieces into one, sound together.
This project is the result of a collaboration lasting months between the artist Andrea Abbatangelo (London, UK) and the curator Adia Sykes (Chicago, USA)
Centro Arti Opificio Siri (Terni, Italy) September 23, 2018
A Landscape Made Up features work by five artists examining the themes of community and connection to place. Chiara Galimberti, Coley Mixan in collaboration with Hannah Patterson, Adee Roberson, and Ileana Tejada whose practices span the media of drawing, video, installation, and performance illuminate the necessity of seeking or carving out one’s own space of belonging should they not otherwise exist. Community, then, can become a created, malleable thing that oftentimes requires tending to.
...My search for it had brought me closer to understanding myself and other human beings. The ache for home lives in all of us, the safe place where we can go as we are and not be questioned. -Maya Angelou, All God’s Children Need Traveling Shoes, 1986
We live in a time when the very concepts of belonging and safety are, for many, called into question. For marginalized peoples this feeling is only heightened given the precarity of this country’s social and political climate. A Landscape Made Up invites viewers to think about the soil into which they send their roots. These five artists cultivate an entire ecology within this exhibition which welcomes those who are most in need of spaces of belonging, communion, and care.
Featuring the work of artists: Chiara Galimberti, Coley Mixan and Hannah Patterson, Adee Roberson, and Ileana Tejada
ACRE Projects (Chicago, IL) October 5-25, 2018
Structures Manifest queries the material and aesthetic qualities of these artists’ works as they grapple with the theme of power through the unique lenses of their experiences and backgrounds. Working across mediums such as photography, sculpture, and installation these exhibiting artists articulate the complexities of identifying, confronting, repositioning, and reclaiming power vis a vis the structure and materiality of their works.
Art objects move to the fore, and viewers are encouraged to start their thinking with the object first before further parsing out the power structures that are being implicated in each piece. These artist’s narratives are diverse and their work makes these explorations of the ways in which notions of power inform narrative creation, politics, social relations, identity, and gender performativity are made tangible and accessible to the viewer.
Featuring the work of artists: Kearra Gopee, Eli Gold, eduardo restrepo castaño, and Anne Yafi
ACRE Projects (Chicago, IL) August 3-13, 2018
This installation is mired in the concept of memory. How do we construct a memory? What do we choose to remember? How do we, then, present and share such memories with others?
This exhibition reconsiders the installation space, a historic cabinet, as an item of furniture reminiscent of that which could be found in someone’s home--such cabinets that are often filled with family photos, heirlooms, and other objects with personal stories and histories--and invited two artists, Ashley M. Freeby (SAIC MFA 2018) and Ben Harle (SAIC MFA 2018), to engage this space through works which considers loss and remembrance. In dialogue, these two artists’ work illicit a consideration of how we each of us cope with loss, and the potential for both public and personal memorials to generate reflection and potential healing through collective mourning.
Works Included: Ben Harle Various ceramic objects from the series “Thixotropic Urns” Glazed and unglazed porcelain
Ashley M. Freeby Photographs in standing frames from the series “Many Thousands Gone” Manipulated found photography, archival inkjet prints
Mayor Rahm Emanuel’s Office in Chicago City Hall Installed July 13, 2018
The Space We Grow Into
The Space We Grow Into explores the connections that women of color cultivate with those around them and the self-care that is necessary to our wellbeing. It is a celebration of sisterhood, of spirituality, of individuality, and an uncompromising commitment to finding and holding onto the beauty that exists in this world should we keep our eyes open to it.
Artists Catalina Bellizzi, SHENEQUA, and Ariana Vaeth, whose practices span painting, weaving, sound, and video consider themes of connection, care, friendship, and intimacy.
Woman Made Gallery (Chicago, IL) May 25-June 16, 2018
2018 MFA Show
The culminating public presentation of more than 100 MFA candidates’ new and ambitious work. Students work for more than six months with three guest curators and 12 graduate curatorial assistants to envision the exhibition, an approach that allows for dialogue, process, and collaborative decision-making among the curatorial teams and artists.
Graduate Curatorial Fellows: Qais Assali, Duncan Bass, Madalyn Brooker, Katie Cato, Luna Goldberg, Garbo Hu, Lindsey Hutchens, Stephanie Koch, Carlos Salazar Lermont, Makayla May, Adia Sykes, Maria Urigoitia Villanueva
Guest Curators: Anthony Elms, Jenny Gheith, and Kate Nesin
The Sullivan Galleries (Chicago, IL) April 29-May 17, 2018
Artists seen in photos: David Heo, Paris F. Jomadiao, Danielle Vickers, Jacob Melgren, Ben Harle, Ashley Pastrore, Jane Thompson, Kevin Demery, Minami Kobayashi, Tri Ngo, Ten Ten Y, Sunny Choi, Jenna Boyles, Tsailing Tseng, Alex Younger, Annie Wieseth, Dana Nechmad, Nicole Rinde, Barbara Polster, Kathia Muniz-Rios, Rachel Lin, and Will Wiebe
Shifting the Center
Shifting the Center showcases projects by current MFA and BFA students who consider individual experience and the everyday through the use of architecture and site. These artists intervene into spaces of confinement, reassembling familiar visual markers, and, in doing so, question sites that often go unnoticed. Viewers are invited to reconsider overlooked spaces and their relationship to the built environment.
This exhibition features new work by MFA and BFA students that consider individual experience through architecture and site, including work by Ivana Brenner (MFA 2018), Ashley M. Freeby (MFA 2018), Ryan Goh (BFA 2018) and Hope Wang (BFA 2018), Catherine Hu (BFA 2019), Ayesha Singh (MFA 2018), Falak Vasa (BFA 2018), and William Wiebe (MFA 2018).
Co-curated with Lindsay Hutchens
The Sullivan Galleries (Chicago, IL) August 29-October 14, 2017
The Visualist: http://www.thevisualist.org/2017/09/shifting-the-center/
Iterative Information, Origin Ongoing
Through an accumulation of adapted, manipulated, and repurposed information, Iterative Information, Origin Ongoing elicits the question: how does the proliferation of knowledge shape or reframe information from the “original” source? As the integrity or truthfulness of information is constantly being called into question, these works explore what happens to information systems as they traverse time and medium
Both a conceptual framework and methodological approach, this exhibition explores the iterative processes that information systems undergo moving from their original source to their dissemination. The works presented express this idea both aesthetically and thematically. Each work foregrounds the notion that the genesis, transmission, and reception of information are equal steps in a generative, creative process.
Iterative Information, Origin Ongoing brings together eight artists whose work encourages its audience to look closely, think critically, and understand interpretation as a part of the iterative processes. These works continue down the hallway and are on view through September 2017. We invite you to spend time with each one, and contemplate your role in in this ongoing process of information exchange.
Co-curated with Alden Burke
Featured Artists: Santina Amato, Jasper Goodrich, Nihat Karatasli, Ting Yan Khor, Ji Su Kwak, Sarah H. Reynolds, Aden Soloway, William Wiebe
Dean’s Office, School of the Art Institute of Chicago June 2017-September 2017
2017 Low-Residency MFA Show
This exhibition showcases the culminating achievements of 32 graduating students from the School of the Art Institute of Chicago’s Low-Residency MFA program, who work in in a variety of media and methodologies.
Featuring work by: Anon Anym, Kioto Aoki, Isidore Bethel, Louise Captein, Michelle Carrasquilla, Kylie Carrigan, Thomas Dexter, Molly Duggan, Scott Easson, Meryl Feigenberg, Katherine Finkelstein, Patricia RAIN Gianneschi, Ellie Hazlett, Clareese Hill, Monica Kelsie, Jenny Keyser, Susan Krueger-Barber, Marina Leybishkis, David Martinez-Moreno, Alexandra Medina, Rebby M – TNKRT, Claire Pope, Benjamin Ripley, Erin Schalk, Griz Strüss, Zsuzsanna Szegedi, Arielle Tonkin, Alena Ahrens, Josh Turk, Janelle Turner, Lan Xu
Curatorial Team: Cortney Lederer, Guest Curator; Alden Burke and Adia Sykes, Graduate Curatorial Assistants; with Andrew Falkowski, Graduate Coordinator; and in collaboration with the Department of Exhibitions and the Low-Residency Master of Fine Arts Program
The Sullivan Galleries (Chicago, IL) July 13-July 30, 2017
The Visualist: http://www.thevisualist.org/2017/07/low-res-mfa-show-2/