THE SEEN | Chicago's International 
Journal of Contemporary & Modern Art
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Issue 23: August

In Conversation with Tina Gelsomini

Marie Fraser is a powerhouse. Before nabbing the esteemed role of Canadian Pavilion exhibition curator at the 56th Venice Biennale, Fraser guided the Museé d’art contemporain de Montréal through several decorated years as chief exhibition curator from 2010 to 2013. She has curated some 30 exhibitions in her native Quebec, across Canada and internationally, and holds a professorship at Université du Québec a Montréal’s art history department, where her research investigates the construction of history through art exhibitions and institutions. 

Read THE SEEN’s artist profile & interview with BGL in
 Issue 01, in print this September.

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by Kostas Prapoglou

From a first reading, the work of American artist Paul McCarthy (b.1945) and that of German artist Georg Baselitz (b.1938) might seem quite far apart. But this is not quite the case. Inbetween, the exhibition presented by the George Economou Collection at its impressive private gallery space in Athens, Greece, focuses on these artists’ inter-personal trajectories. Before entering the gallery, the viewer is encountered with Baselitz’s gigantic bronze BDM Gruppe (2012), which prepares viewers for what follows indoors. Spanning the gallery’s three floors and featuring five pieces by Baselitz and four by McCarthy, all are displayed in constant dialogue. The works on view survey the impact of personal change through socio-economic and cultural constraints.

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by Vanessa Gravenor

Upon first entering Georgia Sagri’s My First Science Fiction Book, Religion on view during the Berliner Festspiel at KW Institute for Contemporary Art in Berlin, one notices a cluster of bodies arranged within a baroque composition. Playing instruments in unison, these individuals create cacophonous, overlapping noises: something resembling a spiritual emanation. Sagri herself, distanced spatially from this pack of musicians, acts as a dancer signing her way to the rhythms of the music in a religious manner. Her motions, which often include the signing of a cross, prostration and bending of the body in Salat, and tongue clicking, become measuring devices that interpret the iconography the combined sound resurrects.

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By Thea Liberty Nichols

Hardcore Architecture, organized by Marc Fischer of the collaborative Public Collectors, demystifies the punk rock rite of passage of stuffing money and stamps in an envelope and hoping for the best.

In an ongoing project begun in 2014, Fischer has been combing through Maximum RocknRoll (MRR) back issues from 1982–89, looking for home addresses that band members lived at (typically with their parents) or ran independent record labels out of. Using a combination of Google Street View and real estate websites, he screen captures images of the homes, feeding them to a web archive, related print publications, and the projects inaugural exhibition, fittingly featured at The Franklin, one of Chicago’s many vital apartment galleries.

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Under the Cover.

After 23 successful online monthly issues, THE SEEN is launching Issue 01 in print this September. The full-color, oversize journal will be produced as a limited-edition 5,000 count run.

Issue 01 will expand on our monthly online content, featuring exclusive pieces and new commissions on the best in international contemporary art. A full preview of the publication titles is available here, and will be published online September 17.

Pick up your free copy at EXPO CHICAGO, September 17–20, 2015.

Image up top: Detail of White Snow, Flower Girl, 2012–2013. Courtesy the artist and Hauser & Wirth.
 For more information about EXPO CHICAGO/2015