THE SEEN | Chicago's International 
Journal of Contemporary & Modern Art
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Online Issue 33
by Vanessa Gravenor

Pipilotti Rist’s work is known for her characteristic hallmarks of fusion between digital and cinematic space, between architecture and the body. Most of her work can be characterized by an aesthetic that weaves into feminism, body politics, and sexuality. This aesthetic is comprised of stretched out slow cam underwater shots that jerk the eye and rip apart perception, though ironically, it is also these aesthetics that tangle up her politics.

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by Brian Prugh

Yoan Capote is quoted in the wall text by his painting as saying, “The sea, for me and for a lot of Cubans, was like a wall, more an image of isolation than a beautiful place. I grew up with a frustration about the limitation and an obsession about crossing the sea.” This idea situates the title of this survey of contemporary Cuban art, Complicated Beauty, currently on view at the the Tampa Museum of Art, organized in collaboration with the Bronx Museum of the Arts—the sea, a paradigm of beauty, is complicated when it becomes a barrier or an obstacle.

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by Brandon Sward

While I Love Michael Asher at Hauser Wirth & Schimmel is Isa Genzken’s first solo exhibition in California, it is not the artist’s first interaction with the state. By her late 20s, Genzken was teaching at the Kunstakademie Düsseldorf, which provided her with a travel grant she used to meet Michael Asher, who taught at the California Institute of the Arts from 1973 to 2008. Her work at the time consisted of smooth sculptures of lacquered wood she called “ellipsoids” and “hyperbolos.” The austerity of Genzken’s work at the time bears a similarity to Asher’s, which was similarly restrained and rarefied. Long associated with ‘institutional critique’—an inquiry into the supposed ‘neutrality’ of spaces within which art is shown—Asher’s interventions included adding and removing walls, recording deaccessions, and keeping a museum open for 24 hours a day. Although Genzken once shared with Asher a certain aesthetic sensibility, I Love Michael Asher presents the Genzken we have since come to know—sensuous and flamboyant.

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We are delighted to announce the call for submissions for the 20th anniversary edition of the MOSTYN Open contemporary art exhibition, to be shown from July 2017. Deadline for Registration: 24th February 2017. Visit for full details, and to download the registration form.Please ensure you read the Terms & Conditions fully before registering.

 Main Prize £10,000 | Audience Award: £1,000 | Selectors:
Lydia Yee Chief Curator, Whitechapel Gallery, London
Chus Martínez Curator and Head of the Institute of Art, FHNW Academy of Arts and Design, Basel
Alfredo Cramerotti Director, MOSTYN
Adam Carr Visual Arts Programme Curator, MOSTYN

Image: Pipilotti Rist, Worry Will Vanish Horizon, 2014. Two-channel video and sound installation, color, with carpet and pillows; 10:25 min. Dimensions variable. Sound by Anders Guggisberg. Courtesy the artist, Hauser & Wirth, and Luhring Augustine. Installation photo: Maris Hutchinson / EPW Studio, courtesy New Museum.

Published by EXPO CHICAGO

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