Daniel Everett

03.30.10

Daniel Everett
April 3 – May 2, 2010
Artist Talk: Tuesday, April 13, 2010, 6 pm
UBS 12 x 12: New Artists / New Work
Museum of Contemporary Art Chicago

Daniel Everett works across media, exploring the possibilities and limits of personal meaning in public spaces, both real and imagined. Much of his work focuses on the aesthetics and implications of the outdated and now-obsolete technology of his youth: videogames, computers, and the early Internet. Everett repurposes these technologies, disrupting their functions and putting them to use in often funny and quite moving ways. Likewise, his photographic works capture uncanny moments within commonplace postmodern architecture — suggesting the presence of spirituality or even godliness in the most banal of places. Creating clean, coolly formal work, Everett projects profoundly personal questions onto the spaces, products, and leftovers of the public domain.

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Stephanie Syjuco

03.29.10

Stephanie Syjuco: Artist Lecture
Tuesday March 30, 5pm
Gallery 400
400 S Peoria St

Stephanie Syjuco’s recent work uses the tactics of bootlegging, reappropriation, and fictional fabrications to address issues of cultural biography, labor, and economic globalization. Working primarily in sculpture and installation, her objects mistranslate and misappropriate iconic symbols, creating frictions between high ideals and everyday materials. This has included re-creating several 1950s Modernist furniture pieces by French designer Charlotte Perriand using cast-off material and rubbish in Beijing, China; starting a global collaborative project with crochet crafters to counterfeit high-end consumer goods; and searching for fragments of the Berlin Wall in her immediate surroundings in an attempt to revisit the moment of capitalism’s supposed global triumph.

Born in the Philippines, Syjuco currently lives and works in San Francisco. Her work has been shown nationally and internationally, including exhibitions at the Whitney Museum of American Art; The New Museum; SFMOMA; The Contemporary Museum, Honolulu; The San Diego Museum of Contemporary Art; and the California Biennial at the Orange County Museum of Art, among others. Throughout 2007 she led counterfeiting workshops at art venues in Istanbul, Turkey; Beijing, China; and Manila, Philippines. In October 2009 she presented a parasitic art counterfeiting event, “COPYSTAND: An Autonomous Manufacturing Zone” in Frieze Projects, London; and contributed proxy sculptures for P.S.1/MoMA’s joint exhibition, “1969.” She is a recipient of numerous awards, including a 2009 Joan Mitchell Painters and Sculptors Award.

I recently learned that the great Hamza Walker was awarded the prestigious Ordway Prize! Congratulations Hamza, you deserve it!

“Hamza Walker, AB’88, Director of Education and Associate Curator for the Renaissance Society at the University of Chicago, has received one of the art world’s most prominent awards, the Ordway Prize.

Selected from a global pool of contenders by a jury of leading art figures, Walker received the curator/writer award for his “significant impact on the field of contemporary art.” Also honored was Polish artist Artur Żmijewski. Each winner will receive an unrestricted cash prize of $100,000 for the award, which is presented by Creative Link for the Arts and the New Museum.”

Read the rest of the article Renaissance Society curator/writer Hamza Walker awarded $100,000 Ordway Prize on the University of Chicago’s website.

Light and Shadow: Films by Nicky Hamlyn
With U.K. Filmmaker Nicky Hamlyn in Person!
Saturday, March 27, 8:00pm
The Nightingale
1084 N. Milwaukee Ave.
Admission: $7.00-10.00 sliding scale

White Light Cinema is extremely honored to welcome U.K. filmmaker, artist, and author Nicky Hamlyn, who will present a selection of his stunning 16mm films from the past two decades.

Hamlyn is frequently referred to as a Structuralist filmmaker, and he certainly is a minimalist one in the form and construction of his films. But, unlike most “structuralists” he is equally concerned with light and color and texture. His work seems a melding of the Structuralist strain the avant-garde film with the lyrical one, to great effect.

Simple in concept, frequently he films room interiors or buildings, his films are at the same time visually rich and striking in their detail. He has the eye of a painter, but he also has a sophisticated understanding of the power of cinema and his camera work and editing are as delicate and resonant as his images.

“Hamlyn’s mostly silent films are concentrated, focused on the relationship between camera and place, maker and materials. Subtle shifts in focus, single-frame sequences, or time-lapse photography alter perception of a tree, a wall, a garden trellis, a shadow, or a reflection. Space is alternately flattened and expanded. The gap in a fence, the opening between two sheets hanging on a laundry line re-frame the outdoors, and nature in close-up becomes abstract and intensely colored, surprising us with its patterns, variability, and the sheer beauty of the mundane.” (Excerpt from Program Notes, LIFT, Toronto, Canada)

PROGRAM:

MINUTIAE (1990, 1 min, color, sound, 16mm)
“Nicky Hamlyn’s portrait of BBC2’s The Late Show studio was shot in one continuous sequence, and with no subsequent editing. Within the limit of a one-minute duration, the film reverses the usual visual priorities, and explores the space surrounding the absent interviewer’s chair.” (Tate Modern)

HOLE (1992, 2 mins, color, silent, 16mm)
“Hole is a pendant/coda to a longer film, Only at First, completed a year earlier. The subject is an absence, a hole in a fibreboard security fence surrounding a large construction site. The hole was made by a drunk who kicked the fence as he was passing my house one night. Behind the hole can be seen fragments of an older fence that enclosed an area of ‘allotments’ rectangles of land that can be hired by members of the public who wish to grow their own vegetables. The hole appears in every shot and the work is principally an exploration of light, but also of scale: feline and human appearances articulate the space in passing through it.” (NH)

MATRIX (1999, 7 mins., color, silent, 16mm)
“Matrix is constructed in terms of receding planes. It shows a back garden/yard and the housing beyond it, in which the divide between the private and public sphere, a garden wall topped with wooden trellis, acts as a fulcrum for various spatial elaborations. Matrix is both analytical and synthetic. Analytical in that there is an attempt to explore three-dimensional space through two dimensional planes, but without resorting to Cubist fragmentation, in that the planes are unified around a singular position (not point) of view, synthetic in that every aspect of the space is re-configured through shifts in the angle of that point of view, bringing into alignment previously seen elements from earlier, different alignments. The trellis acts as a framing and aligning
device, and its form echoes that of the filmstrip and the manner in which the film is assembled, that is, in a frame-by-frame manner.” (NH)

LUX ET UMBRA (1999, 2 mins., B&W, silent, 16mm)
“A portrait of the Lux building in Hoxton Square, London. The film shows building work and completed parts.” (LUX)

NOT RESTING (1999, 4 mins., B&W, silent, 16mm)
“Shot from a bed, the film moves from white to black. Monochrome surfaces and textures on colour film.” (LUX)

PENUMBRA (2003, 9 mins., B&W, silent, 16mm)
“In Penumbra the camera strategy, and shooting scheme, are rigidly determined by the film’s subject, a grid of off-white bathroom tiles. The work is formed as a continuously evolving image. In other words it has neither cuts nor dissolves, both of which affect the transition from one shot to another, but exists as a single fixed shot made with a static camera. Penumbra’s spatio-temporal grid structure parallels the structure of the filmstrip, which is similarly grid-like: spatial in its actual physical form, spatio-temporal in its manner of operation.” (NH)

TRANSIT OF VENUS (2005, 2 mins., B&W, silent, 16mm)
“Transit of Venus is composed of two consecutive, partial, time-lapse records of the ‘Transit of Venus,’ when Venus passed across the Sun on June 8th 2004, ‘Transits of Venus’ are rare and currently occur in a pattern that repeats every 243 years, with pairs of transits 8 years apart separated by long gaps of 121.5 years and 105.5 years. Before 2004 the last pair of ‘Transits of Venus’ were in December 1874 and December 1882. The second of the current pair will be on June 6th, 2012. Although the film was shot with a very small aperture, reduced shutter opening and several layers of neutral density filter, resulting in a black sky, the sun nevertheless remains contrastingly dazzling, and Venus, consequently, is obliterated. These two short sequences are contextualized with data detailing the various technical parameters, which determine the peculiarity of the image.” (NH)

OBJECT STUDIES (2005, 16 mins., color, silent, 16mm)
“Object Studies is organised around a colour scheme based loosely on the hues of the colour temperature scale; brown, red, orange, yellow, green, blue, white. Time-lapse, interlaced, single-frame sequences and lap-dissolves were deployed to explore density, translucency and the interactions of different kinds of cast-shadows.” (NH)

PISTRINO (2003, 9 mins., B&W, silent, 16mm)
“Pistrino is a work in progress, assembled from time-lapse footage shot in Italy over the last three years. I am interested in how the relative values of light and shade are transformed in certain images of natural objects and related phenomena, so that, for example, a shadow becomes at least as strong as the object which casts it. This has the effect of complicating the reading of a given image, as well as creating a new kind of image from the interactions between objects and the shadows they cast. In some of the shots am also interested in how the perceptibility of grain is effected by light and focus levels.” (NH)

PANNI (2005, 3 mins., color, silent, 16mm)
“Panni was shot in a rain-lashed garden in central Italy, in the last week of 2004. It depicts the layers, veils and mattes created by washing on a line. A mix of interlaced, single-frame sequences and normal shooting was deployed to develop ideas about translucency, opacity and looking-through.” (NH)

QUARTET (2007, 8 mins., color and B&W, silent, 16mm)
“The film is structured on a 20 shot sequence of a room that is repeated three times. The first two sequences are in colour, and are shot according to a strict formal plan. Each shot contains a portion of the point of view of its adjacent partners. The second two sequences are in black and white and are more freely structured, even though they follow the spatial-formal pattern established in the first sequence. The only movement in the film is accidental – clouds seen through a window – otherwise nothing moves and there is no sound.” (NH)

PRO AGRI (2008, 3 mins., color, silent, 16mm)
A “time-lapse composition that bears a powerful and timely pro-land, pro- agriculture message.” (Toronto International Film Festival)

WATER WATER (2004, 11 mins., color and B&W, silent, 16mm)
“Water Water revisits the bathroom location of a previous film White Light (1996). It is based around a set of antinomies that operate at various levels, from between frames to between the two halves of the film. The black and white first part is composed of individually filmed frames (animation) which form shots of interlaced contrary motion that nevertheless can be read as sequences of individual frames, and/or in which alternate frames are lit in contrasting ways so as to emulate negative-positive juxtapositions. In the colour second half, dissolves replace cuts, light softens and contrast decreases. Continuity, by way of isomorphic features in the room, replaces the discontinuities of part one.” (LUX)

Nicky Hamlyn studied Fine Art at the University of Reading. From 1979 to 1981 he was a workshop organizer at the London Film-makers’ Coop, where he was also a founder and regular contributor to the Co-op’s magazine Undercut. In 2003 he published the book Film Art Phenomena and has contributed to a variety of magazines, anthologies, and exhibition catalogs. He currently teaches at the University for the Creative Arts. Hamlyn is one of the key U.K. experimental filmmakers of the last 30 years. He has screened throughout the
world and has over 40 films, videos, and installations to his credit.

Abelardo Morell: Artist Talk
Thursday, March 25 at 6pm
Columbus Auditorium
School of the Art Institute of Chicago
280 S. Columbus Drive
FREE ADMISSION

“The room has been darkened with black plastic. Only a small hole at one end lets in the light. Through this hole, an image of the world beyond enters upside down and settles on the opposite wall, to hang above the chairs or streak across the bed. You are inside a spacious, primitive camera, a camera obscura. The physics of light that causes this projection has been known since Aristotle; it fascinated and terrified audiences in the 16th century; painters employed it in the seventeenth century to enhance the verisimilitude of their work.”
-Yale Review

“[He] transports visitors to a topsy-turvy world where exterior spaces are projected onto interior walls, often upside-down. A thicket of trees hangs like clouds in a Manhattan apartment; a view of the Grand Canal cuts a near-diagonal swath through a room in Venice … in some instances, the outside overpowers the inside, leaving only a trace of the actual interior space.”
-New York Times

“Abelardo Morell’s camera transforms the recesses of the world into something even more shadowy. The fact that what he finds in these shadows is quite ordinary – books, kids’ toys, a paper bag – makes the results magically disorienting”
-Los Angeles Times

Morell and his family fled Cuba in 1962, moving to New York City. Morell earned a Bachelor of Arts from Bowdoin College in 1977, and a Master of Fine Arts from Yale University School of Art in 1981. He received an honorary Doctor of Fine Arts degree from Bowdoin in 1997. Morell was awarded the Cintas Foundation fellowship in 1992 and the John Simon Guggenheim Memorial Foundation Fellowship in 1993. Morell is currently a professor of photography at the Massachusetts College of Art.

– via The Parlor Room

threewallsSALON: Curating the Page
Tuesday March 23rd, 7:00 pm
threewalls
119 N Peoria in unit 2C

There appears to be a growing return to the book amongst younger artists, writers and thinkers. This move towards the material and physical may be in reaction to the vastness and immateriality of forms of cultural production in the Second Life era. This discussion centers around definitions of the publication as art object, as curated exhibition, as micro-archive, as well as phenomenological aspects of the publication—its tactility, personable and intimate dimensions, and the unique one-to-one relationship between reader/viewer and object. Bookmakers, editors, curators and scholars have been invited to this discussion to share their experiences as we ponder the significance of recent evolutions in the book as object, curatorial challenges the artist book provokes, and the future of the medium.

Guest Respondents: Brandon Alvendia, Simon Anderson, Doro Boehme, Michael Golec, and Paige Johnston

BEN RUSSELL presents
BEN RUSSELL : BLUENESS

JEROME ACKS
KIMBERLY BAKER
KEN FANDELL
GERARD HOLTHUIS
KENDRICK SHACKLEFORD

1716 S Morgan #2F
Chicago, IL 60608
March 20, 2010 – April 17, 2010
Opening reception: Saturday 6-9 pm, March 20th, 2010

Private viewings by appointment*
*The performance by Kimberly Baker will be presented at approximately 8:00pm during the opening reception.

ABOUT THE SHOW:
From lapis lazuli to Lactarius indigo, Painter Smurf to the throat chakra, Lee Mynung-Bak’s house to one-half of the Grecian Flag, and Palestinian Nav’i Protesters to Eifel 65, your friends at BEN RUSSELL invite you to wave hello (and goodbye) to all things BLUE on this, the first day of Spring. For a city steeped in so much historical BLUENESS (see: the Chicago Blues, the CTA, the Blue Man Group) and a discipline awash in so much azurite, ultramarine, and cerulean blue (see: Madonna with Child, Picasso’s Blue Period, Der Blau Reiter), it only makes sense that these histories would merge (at last) in the form of a five-person group exhibition – BEN RUSSELL : BLUENESS.