Thanks to everyone who came out last weekend for Sara’s show. We’re going to have a closing reception on Sat. 21st August from 2 – 5pm for those of you who want to see the show but couldn’t make it last weekend. Here are a few images of her piece Network, Domestic Intervention. More to follow soon.
Photo credit: Charles Heppner
Photo credit: Charles Heppner
Photo credit: Charles Heppner
Sara Schnadt
Network, Domestic Intervention
July 31st – August 21st, 2010
Opening reception Sat July 31st, 3pm – 8pm
Exhibition continues thru Sat Aug 21st by appointment
Sara Schnadt is a Chicago-based performance/installation artist. Raised on an international commune in Scotland, an ‘alternative’ context which considered itself as a social experiment outside of conventional culture, she spent formative years understanding herself as an outsider, an observer. Since moving to the United States in 1986, Sara has become fascinated with the unifying rituals and values that are common threads in contemporary western culture, and has made work that frames and resonates with those common threads.
Formally, Sara makes performance and installations that use task, found objects, interactivity, projection, and movement derived from common gestures. Her work creates environments that shift the audience regularly from spectator to participant as the performer constantly moves between pedestrian and more stylized or evocative activity and the viewer negotiates spacial immersion in the work.
Works often take shape as installations and live activities that translate data visualizations of large quantities of socially-resonant information into material, gestural and poetic form.
Network, Domestic Intervention
Since November 2009, site-specific versions of Network have been created in Chicago for an unused store front downtown and a gallery space at Hyde Park Art Center. For What it is, a version of Network will be created to inhabit the entire house that is the project space and artists’ live-work space and extend out into the garden.
Visualizing the idea that we simultaneously live in a real and virtual world, and that the virtual is infinitely expansive, Network uses large quantities of electric yellow twine (tied in patterns based on both social network structures and Internet network infrastructure) to suggest a virtual network landscape cutting through an otherwise ordinary space.
Artists/curators/residents Tom Burtonwood and Holly Holmes will also live with the work in their home for a month, negotiating their routines around it. A series of photographs will document their activity for the project catalog.
Sara Schnadt is a Chicago-based artist working in new media, installation and performance art. She has shown her in work in Chicago at Hyde Park Art Center, Pop-Up Art Loop temporary gallery series, 12×12: New Artists New Work at the MCA Chicago, Looptopia, the Site Unseen Performance Festival, Balloon Contemporary, and at Antena Gallery. National and international shows include Exchange Rate public projection series in LA and New York, Upgrade! – Chain Reaction in Skopje, Macedonia, CINEA Paris, FreeManifesta in Frankfurt, and the Busan Biennale in Busan, South Korea.
Permission to Work
Lauren Carter, Colleen Coleman, Elise Goldstein, Katya Grokhovsky,
Samantha Hill, Selena Jones, Maya Mackrandilal, Ben Stagl
Opening reception Sat Feb 6th, 3pm – 8pm or by appointment
UPDATE: CAA reception Sat Feb 13th from 1pm – 4pm
02/06/10 – 03/06/10
Seek permission to work. Acquire the necessary permits. Establish a remit. Documents to regulate creation. Permission To Work is an exhibition designed to challenge and interrupt pre determined ideas about what defines living space and how art works can negotiate the everyday domestic experience.
For the artist the everyday is to dream and often to dream is to work. So the concept of live / work / display space is a fluid one without clear boundaries, limits or territory. Where does living space start and work place stop? Where does studio end and exhibition space begin?
Permission To Work brings together eight artists and invites them to create an exhibition in the style of Schwitters Merzbau or a Kunsthalle. This exhibition presents a variety of positions / outcomes / projects juxtaposing performance pieces, site specific installations and interventions to create a gesamtkunstwerk or total work of art. By seeking “permission to work” we have granted artistic license to play with the fabric of our home and produce art that re-contextualizes the living area as exhibition space.
Download FREE pdf version of catalogue here.
In addition to Michelle and Bernard’s show opening today we’re pleased to announce a new component to the What It Is platform… our Permanent Collection. These are works that have been donated or acquired and placed on permanent display. The first piece is by Anni Holm and is titled Private. You can see it here on our new page…. http://wot-it-is.com/permanent-collection/
Hearts and Fireworks / Burning the Many, Installation view, 2009
Our first exhibition features three new pieces by Andrew Rigsby. Hearts and Fireworks a digital video is projected on one wall of the space, Burning the Many a painted dyptych frames the video and Purple Heart sits on the wall (not shown). The installation is a reflection on mortality and age. These pieces are part of a series Rigsby has produced about reflections and memories. Each video is a marker for a specific time or place in life. Burning the Many is as much a light box as painting. Installed in an interior window it uses the existing light from the adjacent room to illuminate the panels. This piece is a response to the video installation. The final element of the exhibition, Purple Heart, is a cut out mdf painting mounted on the wall in the space, it’s dark hues blend in with the subdued light of the exhibition space. This piece is a meditation on the pain that comes after a wound has been inflicted.
Exhibition continues through Aug 15th. Please email info@wot-it-is.com to schedule an appointment.
post_fireworks and hearts from andrew rigsby on Vimeo.
It’s all about the after. And the before. It’s about the future, as well as the past.
It’s almost never about the now.
It’s about standing still. And it’s about moving. About looking back. But pushing forward. It’s about not knowing what comes next, having no clue, but still acting, doing something, anything.
If you ask the artist, he’ll talk about highway driving, chasing the sun with a car. Long distance. He’ll talk about things on the horizon getting closer, growing to where you recognize them and then them passing and fading behind you.
It’s about the other thing that then comes into view.
There is a word for all this: Longing. I like the length implied with this word. The actual distance imparted by it. It’s appropriate.
In Oak Park, Illinois in the front room of a house turned gallery Andrew Rigsby’s latest video plays on a wall. It’s large, projected, and has no sound. There is a barbeque in the backyard, the inaugural show for a new gallery, and the gathering of people in attendance go through the room with the video to get to the food and beer. This is a model of showing that has worked well for Chicago, the apartment gallery. It’s an intimate, work-horse ready atmosphere. No pretension. Practical. Honest and genuine. An ideal setting for Rigsby’s work. This is not a wine and cheese event. It is the beginning of summer and there is still a chill to the air. No one really trusts it, but everyone is comfortable with it, accepts it as the way things are. Chicago weather. Chicago work. People linger with the video, beer in hand, usually alone, before they head out back for air and conversation.
One would think the art stops at the door. That it doesn’t travel outside. But that would be naive. This is sticky work.
On the surface, the video appears simple. A silhouetted image of a human heart frames a frenetic slideshow of colorful fireworks, both moving, forward and back in space, pulling and pushing at each other at different speeds. The firework slideshow is fast and frantic. The outlined heart is slow and plodding. The combination is brutal.
Have no doubt, this is sad work. It is melancholy. Bitter sweat. Even a little depressing. But along with the sadness, there is hope. There is the idea of potential, anticipation, a crowd of prospective happiness, talking, gathering together and meeting each other, having a drink or two or three or more, making your way through new and old faces, smelling backyard smoke for the first time after a hard winter. This is where the work lives. This is how the work lives.
I feel the summer in Rigsby’s work. Not the meaty middle firework time. But the end-nearing, can’t-hold-on-to-it, wish-there-was-more-of-it time. And there’s a secret. It’s a secret which the artist has figured out and is attempting to let us in on. There is more. This work is an Indian Summer. It’s a gift.
Stand still and watch explosions in the sky. Kinetic movement above you. Underneath, looking up, you are powerless compared. You are static, still, and quiet. But keep in mind that you will not burst. You will not spontaneously catch on fire. You will not sputter and spit and quickly burn off into the night. You will be small and subtle and dark next to the fire but you will remain. It will pass before you.
Text by Alain Douglas Park, July 2009
www.alainpark.com
