THE SEEN | Chicago's International 
Journal of Contemporary & Modern Art
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Online Issue 34
by Brian Prugh

The photographs included in Sarah Hobbs’ Psychological Traces, currently on view at the Indianapolis Museum of Contemporary Art, depict interior spaces that tell a psychological story. The conceit of these photographs is to give insight into the psychology of a room’s decorator (and implied occupier), who, though absent, has left some significant trace of an interior compulsion or quirk.

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By Noah Hanna

It can be challenging to trace the roots of Mark Wallinger’s artwork. The Turner Prize awardee has adopted such numerous personas, mediums, and themes that any attempt to locate the origin of his illustrious career can seem futile—though it appears Wallinger prefers it that way. Sharing the gallery space at Edinburgh’s Fruitmarket Gallery and Dundee Contemporary Arts, Wallinger’s exhibition only deepens his commitment to a perpetually nebulous practice.

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By Dr. Kostas Prapoglou 

LANDSCAPES, Selections from the State Collection held at the Evagoras & Kathleen Lanitis Center, Limassol, Cyprus encompassed a wide range of the country’s artistic production that goes back to as early as the 1930s. The exhibition, featuring 32 artists, was selected by curator and artist Dr. Savvas Christodoulides from the State Collection—numbering over 3,350 works—highlighting an institution that is continuously enriched with by new acquisitions. Spanning the venue’s ground floor and upper-level spaces, the works on view negotiate notions of spatial awareness filtered through the prism of topical socio-economic constraints. Each generation of artists on view represented the uniqueness of distinct and pivotal time periods closely associated with the country’s turbulent twentieth-century past. From the struggle for independence from British rule leading to the formation of an independent country in 1960, to the military events of 1974 and its associated post-war trauma, the exhibition points to the unavoidable influence inspired by political circumstances that has altered and formed the course of modern Cypriot history.

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by Ruslana Lichtzier and Ryan Coffey

In 2014, artist Greg Bae returned to the Unites States after eighteen months in South Korea. His homecoming germinated a fixation on his last days there. In a closed circuit, his mind rebounded to the final memories in that country. One of them was watching the 1993 film "Groundhog Day." The movie became for him a metaphoric apparatus, the sense of being encased within the moving picture, the recurrence of a single day, yet not only. The content of the film itself, each time it is experienced, is too part of the same encounter, time and time again. If time had stopped, the constantly morphing sky would hold still and become the opportune subject of a drawing. 
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Partly loose, partly calculated, Dan Devening's works operate within a bare economic circuit, where paintings become "scavengers" (the artist's terms). You may notice a photographic, bureaucratic remanence; an image of a wall, a lobby, a notebook, some paperschreds. Hiding, obscuring the scene, the works push your gaze to the edges, or beyond the foreground. This does not reveal a thing. It is not about a story. The paint, the marks, the studio movement traces, decoy your body through a play of balances—to an unavoidable pleasure. It is a perverse experience, of slippages, as its form shifts away from you. 
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Jeff Prokash's ongoing research project, Objects for a Production in Eleven Acts, examines the resonant nature of objects and spaces as they operate within a singular information system. With each new exhibition, the set objects—which range from FBI files obtained through the Freedom of Information Act, requests on German fiction writers, to boxes of unused confetti collected from a shuddered nightclub in rural Wisconsin—is re-edited and restaged. Placed in arrangements that echo sites such as public storage facilities and restricted government archives, the specific arrangements provide an inside view to the sites and systems that give projects their form.
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Anna Shteynshleyger spent most of her life and in and out of institutions. One day, after a weekly therapy session, she found herself wandering through the halls of 26 Court, a downtown Brooklyn building she had often visited. That day, following the office’s doors that lined the walls every ten to twenty feet, she began to capture them. After about a year, she had covered them all. The findings revealed that the building is populated by legal and medical practitioners. Depending on the abbreviations next to the name, a commodification of empathy takes place on a charged-per-hourly basis. All the doors are closed. They practice, I practice. Business as usual. The customer is always right. Please pay your bill on time. 
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Image: Prom Forever, Sarah Hobbs at the Indianapolis Museum of Contemporary Art, 2017.

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