Please join us for a public reception from 6:00-7:30 on September 30th. Register here.
In her first solo institutional exhibition, New York-based sculptor Hannah Levy brings to The Arts Club new works fashioned of carved steel and silicone that explore the underside of the mid-century aesthetic. Paying attention to points of contact with the building, Levy suspends and balances suggestive forms that point at once to corporeality and design. Each work relates to familiar objects, but subverts or exaggerates their qualities to bring a new reading, or perhaps one that has been lurking all along. We plan to fête Levy in person with a public reception and sincerely hope to see you there!
To enter the in-person event, please be prepared to present an official COVID-19 Vaccination Record Card certifying that you have received a vaccination (photo of card or proof of vaccination is acceptable) or official documentation of a negative PCR test result.
Audience is required to wear a snug-fitting mask or facial covering over the nose and mouth for the duration of the program.
Register here.
Thursday October 28
Evening Concert
Flutronix Premieres Black Being
Program 6:00 pm
Musical duo Flutronix, featuring flutists Nathalie Joachim and Allison Loggins-Hull, presents a new work at The Arts Club, a co-commission between The Arts Club of Chicago and the Cincinnati Symphony Orchestra. Titled Black Being, this evening-length performance of original music gives voice to the complexities of black feminism through themes of strength, sacrifice, beauty, fear, and survival. Providing a musical lens into black female cultural realities, Flutronix crafts Black Being around a newly-commissioned text by North Carolina poet laureate Jaki Shelton Green, “…a poet whose work exemplifies how poetry can spark conversation and can help us learn about one another’s lives and unique experiences, which promotes greater understanding.”
$20 per person or pay what you can, tickets sold on a sliding scale
This program is open to the public, and we want to make sure that anyone who genuinely wants to attend is able. Please consider paying $20 if that is within your ability.
To enter the in-person program, please be prepared to present an official COVID-19 Vaccination Record Card certifying that you have received a vaccination (photo of card is acceptable) or official documentation of a negative PCR test.
Please email David at dmerz@artsclubchicago.org
requests for accommodation.
DUE TO UNFORESEEN CIRCUMSTANCES, THIS PROGRAM HAS BEEN CANCELLED
Tuesday September 21
Evening Program: Music & Poetry
Flutronix with Jaki Shelton Green
*Live in-person program with option to view remotely
Program 6:00 pm
In 2019, Allison Loggins-Hull and Nathalie Joachim of Flutronix commissioned North Carolina Poet Laureate Jaki Shelton Green for a new poem exploring the complexities of black feminism. What Green wrote was a stunning work with immediate impact on the reader, a rumination on history and experience. Green’s powerful text is at the heart of a new musical work titled Black Being, to be premiered at The Arts Club in late October of 2021. The first African American and third woman to be appointed as the North Carolina Poet Laureate, Green performs a reading of the new poem and sits down with Loggins-Hull and Joachim to discuss the themes behind her work and how they come into play in Flutronix’s Black Being.
Free and open to the public.
To enter the in-person program, please be prepared to present an official COVID-19 Vaccination Record Card certifying that you have received a vaccination (photo of card is acceptable) or official documentation of a negative PCR test.
Please email David at dmerz@artsclubchicago.org
requests for accommodation.
The Arts Club’s fall exhibition Upkeep overlaps in both time and topic with The Renaissance Society’s exhibition Nine Lives. Both group shows partake in the Feminist Art Coalition, a national initiative to explore the nuances of what feminisms might mean today. We bring together an artist from each exhibition to converse about areas of convergence or departure.
South African sculptor and visual artist Bronwyn Katz talks with Paris-based Canadian artist Kapwani Kiwanga about their related approaches to materials and shared interest in revisiting histories or stories from the past. An apropos pairing, the two dissect their engagement with sculpture, materials, storytelling, and revisited histories.
Join us on Friday, July 10th for a discussion with Marissa Lee Benedict, David Rueter, and Daniel de Paula, the artists behind our most recent Garden Project REPOSE.
This exhibition will be broadcast over Zoom.
This event has passed.
In 2018, a group of artists salvaged the last remaining trading “pit” floors from the Chicago Board of Trade, after electronic trading rendered these octagonal pits obsolete. The floors will circulate through a global purgatory of storage and exhibition, housed in the custom wooden shipping crates that are iconic in the art world. For their Garden Project, Marissa Lee Benedict, David Rueter, and Daniel de Paula rearrange fragments of these shipping crates around a missing object, connecting negation in modernist sculpture with dematerialization in global logistics and commodification. In Repose, these wooden fragments interlock in patterns reminiscent of the geometric flooring at the Board of Trade, transforming as viewers walk around The Arts Club’s garden while framing an absent object.
At first glance, Repose presents itself as enigmatic: the arranged fragments a custom wooden shipping crate for a large, missing object. The absent object, the peculiar nature of its suspension and rotation, and the sliced openings built to cushion and support a buoyed mass, flip in and out of focus.
The engineered wooden strata of the precisely cut angular packing materials describe dueling geometries. Some of the slices are capable of being drawn by hand; others are only conceivable through digital rendering software. At play are looping continuities between modernist negation and global logistics. Cuts made by Gordon Matta-Clark in 1978 for the MCA Chicago commissioned work Circus or the Caribbean Orange, temporarily installed just a few doors east of the Arts Club on Ontario Street, echo through the garden. The sculptural tradition of the negative object (“not-landscape,” “not-architecture”) here become colonized by histories of logistics, capital and flow that, again, stall out – like “…a kind of black hole in the space of consciousness.” [1]
Supplementary documentation describes the subject of the negative space at the crate’s center: a fragment of a discarded artifact of financial capitalism, once central to Chicago’s commodities and futures trading.
In 2018, a chance series of communications, buoyed by the generosity of a community of Chicago artists, led artists Daniel de Paula, Marissa Lee Benedict, and David Rueter to salvage and acquire the last remaining commodities futures trading “pit” floor from the Chicago Board of Trade. The 40-foot-diameter, octagonal, seven-tiered corn and soy pits, in operation since the late 19th century, were closed in the mid 2010s as electronic trading made their function obsolete. Sitting, near empty, for years, the pits were disassembled in pieces and removed from the Board of Trade in the late summer of 2018. The corn pit, broken apart into 32 pieces, is now entering a purgatory of circulation and storage – a state maintained by the artists as they wear at the logics and histories sedimented in its bent, geometric, bones.
The abjection of the pit (and the bodies it housed) from the heights of finance suggests a profound break or discontinuity, but it would be more accurate to say that it reflects a steady acceleration and reinforcement of a centuries-old logic of dematerialization through abstraction, commodification, and financialization – an violent logic of bodily and material erasure that the pit itself once facilitated.
Like oddly intersecting angles of rotation, Repose embodies the hallucinatory qualities of knowledge that, anchored in abstractions, govern global logistics and colonial exploration. Repose, at the Arts Club, frames the artwork as evidentiary object, even as it lies in wait for a subject that may never show up.
[1] Rosalind Krauss. “Sculpture in the Expanded Field.” October, vol. 8, 1979
Marissa Lee Benedict, born in Palm Springs, Calif. in 1985, is a sculptor, writer, and lecturer. Considering subjects that range from technologies of water management to the laying of fiber optic cable, her work draws on traditions of American Land Art to investigate the material conditions of a recently networked world. Benedict received an MFA in Sculpture from the School of the Art Institute of Chicago, and has exhibited at venues such as The Renaissance Society (Chicago, IL), and the Transit Screening Lounge in The U.S. Pavilion as part of the 2018 Venice Architecture Biennial (in collaboration with David Rueter). She has participated in numerous national and international residencies, including Artport Tel Aviv (supported by the Hyde Park Art Center Jackman Goldwasser Residency); and was a 2018-19 artist-in-residence at the Van Eyck Academie (Maastricht, NL).
Daniel de Paula, born in Boston, Mass. in 1987, is a Brazilian visual artist, researcher, and co-proposer of the independent exhibitions program Um Trabalho Um Texto (São Paulo, BR). The multiple propositions of the artist reflect upon the production of geographical space as the reproduction of dynamics of power, thus revealing critical investigations concerning the political and economic structures that shape both places and relationships. de Paula holds a BFA in Art at FAAP – Fundação Armando Alvares Penteado and is enrolled at the Human Geography masters program at USP – University of São Paulo. The artist has exhibited in venues such as PAC – Padiglione d’Arte Contemporanea (Milano, IT), MASP – Museu de Arte Moderna (São Paulo, BR), and MAC – Museu de Arte Contemporânea (São Paulo, BR). He was a 2018-19 artist-in-residence at the Jan Van Eyck Academie (Maastricht, NL), and his work is represented by Galeria Jaqueline Martins.
David Rueter, born in Ann Arbor, Mich. in 1978, is a visual artist, programmer, and an Assistant Professor in Art and Technology at the University of Oregon. Employing video, custom electronics, software, cartography, and performance, Rueter’s experiments and interventions confront established technical systems and their philosophical counterparts, opening cracks for radical alternatives and imaginations. Rueter is a graduate of the School of the Art Institute of Chicago’s MFA program in Art and Technology Studies. Rueter has exhibited at venues such as the Transit Screening Lounge in The U.S. Pavilion as part of the 2018 Venice Architecture Biennial (in collaboration with Marissa Lee Benedict), and the Museum of Contemporary Photography (Chicago, IL). Rueter is the recipient, in collaboration with Benedict, of a 2016-18 National Endowment for the Arts “Art Works” grant for the project Gary Lights Open Works (GLOW) in Gary, Indiana.
This exhibition is supported by a generous grant from the Terra Foundation for American Art.
