THE SEEN | Chicago's International 
Journal of Contemporary & Modern Art
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Issue 26: January
by Kostas Prapoglou

Gilbert & George’s current exhibition at White Cube in Bermondsey, entitled THE BANNERS, entails a series of ten new works, each of which is duplicated three times and colonizes the whole of the gallery space. Evocative of protest banners, all thirty watercolor paper mounted on linen works follow the same template and scale. Each begins with a single text line in red paint stating “Gilbert and George say:” followed by a larger font in black spray can paint embracing a melange of subversive slogans. 

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SANCTUM // Theaster Gates
by Ben Hoare

Chicago-based artist Theaster Gates presented his first public project in the UK in the fall of 2015. Invited by Situations, a Bristol based public arts production company, Gates conceived of  Sanctum—a continuous performance running 24 hours a day for 24 days from October through November—in a temporary architectural intervention within the bombed out remains of the fourteenth century Temple Church in Bristol.

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by Hiba Ali

Designed by architect Fumihiko Maki in modernist style, the Aga Khan Museum in Toronto, Ontario opened to the public in 2014. Their most recent exhibition, Home Ground: Contemporary Art from the Barjeel Art Foundation, which closed earlier this month, featured twelve artists from the collection whose work depicts the transformative and unsettling aspects of immigration, and the reformation identity within a nation-state. 

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by Tina Gelsomini

At the Musée d’art contemporain de Montréal, an unbearably bright white room holds Lost in Time/Murcof (2014), a spinning vinyl record on a player looping the soundtrack to Patrick Bernatchez’s film Lost in Time. The haunting sound reverberates off of the empty gallery walls, functioning as a gateway; installed in a side room off of the main exhibition space’s hallway, the piece acts as an auditory prelude and virtual introduction to Les temps inachevés, a sweeping installation of the Quebec-grown interdisciplinary artist’s work.

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by Kostas Prapoglou

Having developed a profound interest in the culture of hacking, the perplexed world of computer programming and information technology, New Zealand artist Simon Denny has taken over the Serpentine Sackler Gallery in order to convey these fascinations to the London audience. Entitled Products for Organising, the show spans the entire space of the Sackler Gallery, subdivided into two chapters with the artist’s voice that is heard throughout the exhibition space making humorous remarks in relation to the context of the show.

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Next Edition in Print

Issue 02 will be publishing in Spring / Summer 2016. The free full-color journal will continue to feature exclusive pieces and new commissions on the best in international contemporary art. 

Gilbert & George say-: BURN THAT BOOK, 2015. Watercolor paper mounted on linen with three brass eyelets, red paint and black spray can paint. 48 1/16 x 59 13/16 in. (122 x 152 cm) Â© Gilbert & George. Photo © Gilbert & George Courtesy White Cube

 For more information about EXPO CHICAGO/2016