THE SEEN | Chicago's International 
Journal of Contemporary & Modern Art
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Online Issue 32

by Kate Pollasch

Viewing Sadie Benning’s 2007 video work Play Pause is to be enveloped in a slow submersion of textural sounds, tactile traces, banality, and erotic intimacies that seems to unmask something indefinably true about living in Chicago. It is a work that lingers, like a shadow, coloring one’s own experiences from the exhaustive pleasure of sitting down in the CTA train car after bracing  against merciless winds, or in the delicate moments of laying in the darkness listening to the chug clank tick of Chicago pipe heaters in so many of our apartments. 

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by Dr. Kostas Prapoglou

Undead Sun: We Put the World Before You is the solo show of Turner prize nominated artists Jane and Louise Wilson at Middlesbrough Institute of Modern Art (MIMA) in the UK. The show comprises the second stage in a three-part project commissioned by Film and Video Umbrella (FVU) for the centenary of the First World War. The duo presents two films, Undead Sun (2014) which premiered at the Imperial War Museum in London two years ago and We Put the World Before You (2016), made especially for this exhibition. Sculptures that are conceptually in line with the narrative of the two videos are positioned in the surrounding gallery space.

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by Brian Prugh

Mohau Modisakeng, recently selected for the South African Pavilion at the 2017 Venice Biennale along with Candice Breitz, has a video and six large scale photographs in his first solo exhibition in the United States at Laumeier Sculpture Park in St. Louis.

While all self-portraits, the works are multilayered, with different aspects that shift into and out of the foreground like ambiguous positive and negative space. The photographs are loaded with pathos coupled with highly specific symbolism that makes a straightforward reading of them quite difficult, so I will work around them from three directions—the work as dream or vision, the work as politics, the work as self-portrait—in an attempt to build a sense of what is going on in the photographs and video as these interpenetrating layers dance together.

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by Dr. Kostas Prapoglou

Who Throws Whom Overboard? is a survey of the work of Austrian born and based artist Oliver Ressler at SALT Galata in Istanbul, Turkey dating between 2004–2016 and addressing issues of migration, borders, citizenship, capital, society, ecology and alternative economies.

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Edited by Stephanie Cristello
now online

Texts by Stephanie Cristello, Jill Silverman van Coenegracths, ART & LANGUAGE (Mel Ramsden, Michael Baldwin), and Matthew Jesse Jackson. Designed by JNL Graphic Design. Published by EXPO CHICAGO, 2016. Limited edition publication of 250.

Emergency Conditionals—first presented at the conference ‘Philosophy and Conceptual Art’ at Kings College London in June 2004 and subsequently published in Philosophy and Conceptual Art, Peter Goldie and Elisabeth Schellekens (eds.), Oxford University Press, 2007. The silkscreened folder, stamped by Art & Language in a numbered edition of 250, contains two collections of texts. The first is a grometed cardstock text by Art & Language (Mel Ramsden, Michael Baldwin, and Charles Harrison). The second is a collection of essays with a forward by Stephanie Cristello, which traces the exhibition at the Philippe Méaille Collection—Château de Montsoreau in France, Jill Silverman van Coenegrachts on the history and legacy of the collective in Chicago, and an essay by Matthew Jesse Jackson, entitled “If You Were Art & Language, You’d be A Fucking Decent Contemporary Artist,” originally published by MACBA in Barcelona.

> Read Foreword & Essays

> Download full PDF

Image up top: Work by Mohau Modisakeng, courtesy of the artist, 2017.

Published by EXPO CHICAGO

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