Tag Archives: Contemporary Art

Snow Yunxue Fu’s work on view at the Chicago Artist Coalition

Kissing in Heaven, Friday, May 1, 2015 to Thursday, May 21, 2015

HATCH Projects exhibition, Kissing in Heaven, brings to mind a perfect experience, a suspect fantasy that nevertheless sustains many of life’s efforts. The works on display focus on this tension between desire for the ideal and the material limitations which obstruct it.

Andy Roche uses video and lightboxes to examine both the comedy and the anxiety of the life cycle. Snow Yunxue Fu uses digital media in gesturing towards a higher reality, while utilizing technology and artifice to achieve that vision. Hideous Beast (Josh Ippel and Charlie Roderick) defy the rarefied status of art by performing and documenting the installation of the entire exhibition themselves. This direct handling of the artworks suggests how physical, tactile, and intimate processes counteract the purity of the ideal. Kissing in Heaven is curated by Allison Lacher, HATCH Projects Curatorial Resident.

Artist Bios

Andy Roche is an artist and filmmaker from Dubuque, IA, currently living in Chicago.  His work has been exhibited in galleries and presented at film centers including the Museum of Contemporary Art Chicago, Kala Art Center, Berkeley, S8 Gallery, London, Roots & Culture Contemporary Art Center, Gallery 400 at the University of Illinois-Chicago, and the Ann Arbor Film Festival, among many others.  Recently, his fiction has been published in Rough Beast Magazine, Berlin.

Snow Yunxue Fu is an artist who lives and works in Chicago. Her work approaches the subject of the Sublime using topographical computer rendered animation installation. She exams and interprets the world around her through virtual reality, where she draws a parallel to the realm of multi-dimensionality and the spiritual.

Fu has exhibited her work nationally and internationally including Chicago Filmmakers, Kunsthalle Detroit Museum of Contemporary Art, MoMA PopRally Online Screening, NURTUREart Gallery in Brooklyn NY, TEMP Art Space in New York, The Gallery C Space in Beijing, Prak-Sis New Media Festival in Chicago, Currents: Santa Fe International New Media Festival, Gene Siskel Film Center in Chicago, West Village Art Gallery in Chengdu China, SIMULTAN Festival in Romania, and 9:16 Film Festival in Australia.

Fu is currently teaching at the School of the Art Institute of Chicago in both the Film, Video, New Media, and Animation Department and the Continuing Studies Department.

Hideous Beast is a collaboration between Josh Ippel and Charlie Roderick. Since 2004 they have worked organizing structured participatory events, publishing how-to manuals and most recently creating interactive sculptures and installations that examine survival culture.

Currently Hideous Beast operates out of Chicago, IL. Primarily working with non-commercial art spaces, they have exhibited work with a variety of artist-run spaces, galleries, museums and festivals nationally and internationally.

Curator Bio

Allison Lacher is an artist, educator, curator, and community arts advocate. She serves as the Visual Arts Gallery Manager at the University of Illinois Springfield (UIS); has previously held positions with the Mattress Factory in Pittsburgh and the Utah Museum of Contemporary Art in Salt Lake City, and has been a grant panelist for the Illinois Arts Council Agency (IACA). She has exhibited extensively and is a previous recipient of the IACA Artist Fellowship Award. In 2013 she co-founded DEMO Project, an alternative contemporary exhibition venue, in partnership with UIS affiliates. Collaboration, alternative projects, and community engagement are at the forefront of her exhibition programming initiatives.


Kissing in Heaven: Artist Forum
Chicago Artists Coalition
217 N Carpenter St.
Saturday, May 9
12:00 – 4:00pm

Artists Snow Yunxue Fu, Andy Roche, and collaborative Hideous Beast present Kissing in Heaven: Artist Forum. The event will offer expanded insights into exhibited works through workshops, phone calls, exchanges and discussion. Kissing in Heaven is a HATCH Projects exhibition curated by Allison Lacher at the Chicago Artists Coalition.

12:00-2:00pm: Hideous Beast, Workshop

2:00-3:00pm: Andy Roche, Call 312-806-3240 Immediately

3:00-4:00pm: Snow Yunxue Fu, Sight, Seem, Slight

Review: “The Incomparables Club” at Rhona Hoffman Gallery

In the darkened second floor gallery space at Rhona Hoffman Gallery, Karthik Pandian’s Reversal plays behind curtains.  The single channel moving image program is paired with six heavy humming speakers strategically placed throughout the space allowing viewers to slowly settle in with the moving image.  Filmed with two cameras onto 16mm film, Pandrian’s video is a selection of still images that fade in the Ken Burns style drawing on the nostalgia for documentaries.  Red rectangles slowly move across the stills that allude to 1960’s performance documentary.  With such attention to documentation it comes as a surprise that the image stills and rectangles appear through a program that Pandian has designed to produce random selection choices.  The sound, as well, is produced through chance calculations that play six synthesized tones, which in turn, structure the empty darkened spaced with an auditory architecture.

In the lower gallery objects, which were used or visible in the video stills, are exhibited as a collection of ephemera.  His selection of objects draws on Pandian’s earlier interest in archeological methodologies.  Cast bronze gloves, an perpetually emptied bottle of whiskey, and boxing gloves on a curved arc, all are objects that concern themselves with tongue-in-cheek reference to 60’s conceptualism and its historic lineage to the Dada readymade.  For Pandian this archeological methodology comes as no surprise.  In his 2011 exhibition at the Whitney Museum “Unearth,” Pandian turned to the Native American city of Cahokia and featured monolithic columns filled with earth and embedded strips of film.  In “The Incomparables Club” he nostalgically exhumes the cool of the 60’s, and with it, the insularity of the “cool” of the time.

Pandian considers each of these images encapsulated “medium and motion” memories that zoom through the contained space of the projection room.  In it, he allows viewers to be mesmerized and captivated by synthesized humming that displaces focus with aestheticized seduction. And much like the minimalist artists of the 60’s, we are left out of the club.  Indeed, the surface of the objects are polished, reflective, and presented with such autonomy that they disregard the viewer.  In fact the gaze reflects from the object towards other objects in the room, seeking to find one that will allow entrance into Pandian’s club.  In the back room Muddy Waters, a mop leaning against the wall has been used to clean up Drakkar Noir cologne.  Paired with other objects that resemble ready-mades, Muddy Waters leaves viewers inspecting for perfection in the object’s imperfections to find the punch line.  The objects in the gallery are left as reminders of what was seen in the film, they comparable to objects seen in galleries to remind us of what has been seen in history.  Unfortunately with Pandian, this might not be the cool club we wanted to remember.

“The Incomparables Club” is now on view at Rhona Hoffman Gallery through April 20th, 2013.