Opening Friday, May 2nd, from 5:00-8:00pm at Corbett vs. Dempsey
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Wait for Now by Jessica Taylor Caponigro &
Mmmmm by Justin Petertil
April 29-June 1
Opening reception: May 3, 5-8p
Curated by: Robyn Paprocki
Chicago, IL – Comfort Station is pleased to present two juxtaposed solo shows, featuring Wait for Now by Jessica Taylor Caponigro & Mmmmm by Justin Petertil.
Jessica Taylor Caponigro has resolved to create art that is accessible to a variety of audiences, rich with pattern, repetition, and reproduction. Inside the Comfort Station, Taylor Caponigro’s works react to the building’s original purpose as a place where travellers were stranded, waiting for the next trolley to arrive and carry them to their destinations. Rooted in a feeling of being trapped or restrained, her works offer reprieve for visitors, who will be met with a soothing, comfortable homage to the Comfort Station’s history and purpose.
Outside, Justin Petertil will install a soundscape consisting of tree-hung plastic fruit, each concealing a low volume audio device. Utilizing photocells to make the pitch and dynamics variable with light, the result will manifest in a subtly shifting soundscape and uncanny visual, audio experience. It will be an incongruent treat for passersby and a full synesthetic meal for those that choose to linger.
These installations encapsulate the simultaneously familiar and foreign, resulting in a wholly unsettling experience. For further information about this show, please contact Comfort Station curator Robyn Paprocki.
Visual Ends: The Edge of Perception
FLAT Space, Chicago
February 29 – March 30, 2014
What remains of the most outstanding piece from the inaugural exhibition at FLAT Space is splattered orange paint amongst scattered dirt, mixed by the feet of George William Price. Once a neat pile, the dust is the subject of Aktions Übertragung: Dust from Perinetkeller, Wien to Ruble Street, Chicago, a performance enacted at the show’s opening. One kilogram of what is simply described as ‘dust’ was shipped to Chicago from the former studio of recently deceased Otto Mühl, founder of the Viennese Actionism school.
Currently living and working in Mühl’s studio in Vienna, Nicole Prutsch, along with Price, performed a variation of scores by the artist via video feed, projected live during the opening. Prutsch in her studio, and Price in Chicago, poured buckets of paint on their nude bodies, and after three segments of actions from various scores, the piece concluded with Price offering his body as the palette for Mühl’s dust.
Tobias Zehntner, contributed works composed of light, ones that produce a warm sheen throughout the space. Skyline, 24-hour photo data of the Chicago skyline condensed and looped to 24-minutes, programmed into an LED shaft extending from the floor and almost touching the ceiling, subtly beams blue and purple hues. With this work, one witnesses a sunrise, sunset, and city lights, which do not linger but quickly float by. The placement of the piece works so well in the gallery that it almost becomes part of it.
Zehntner’s Untitled (Two Bulbs) is only slightly less serene. Like Skyline, this work comprised of just two light bulbs, a cable, and timer is equally clever in its utilization of the space. With half of it occupying a small nook located near the front, it’s surprising to see the other part upstairs suspended above a secluded area, the two connected by a single cable calculated to flicker and fade at alternate times.
Shifting away from the incandescent, two other works explore modes of ephemerality in different capacities. Austen Brown’s untitled piece, sprawled along the gallery’s main level, is a feat of meticulous engineering. Brown arranged over a dozen small glass containers hooked up to what he describes as a self-generating synthetic click, which allows the noise produced by the computer program they are synced with to literally expand and contrast sound.
Lauren Pirritano’s This Feeling Will Last Forever is the most underemphasized piece in the show, not due to the textual medium itself but to its placement and presentation. Commissioned for the exhibition and printed in an edition of 50, the work explains the process of memory, and it does so repeatedly, literalizing the exhibition’s theme to a needless degree, musing on strengths and weaknesses with which it may aid or fail us.
Curated and arranged effectively within the small space, Visual Ends presents some really intelligent work. Concepts of ephemerality are conveyed through sound, light, text, space, and body creating a successful first exhibition overall.
For those who didn’t make it to the panel on 3/9.
Touring the Biennial this weekend, this group of works entitled Image of Limited Good (2014), was in my opinion in the top 5, and certainly one of the best on the the first level. A striking installation at the entrance of the room, it’s comprised of tables, suitcases, cuff links, briefcases, prints on paper, and a disassembled greeting card rack, among other things. Suitcases are filled with resin. Images in the drawings are apparently old airline logos.
Presented with DOCUMENT, this group exhibition includes Elizabeth Atterbury, Scott Cowan, Owen Kydd, Phillip Maisel, and Erin Jane Nelson.
Layered and Exposed explores collage in contemporary video and photographic practices. The work in the exhibition varies from studio-based constructions, digitally made collages, and visual assemblages made using the camera.
Heaven Gallery is located at 1550 North Milwaukee, 2nd floor, Chicago, IL 60622
Gallery hours: Saturday 1 to 5 or by appointment.