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thefranklinoutdoor · 2 years

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The Franklin is proud to present:

SATELITE

Featuring alternative project spaces and galleries:

AMFM (CH) http://www.amfm.life/

Hidrante (PR) https://hidranteee.com/

Reunion (PR) @reunion.espacio

Cachorra (CO) @cachorracachorracachorra

Alt__ (CH) https://www.altspacechicago.com/

Contratiempo (CH) https://contratiempo.org/

Heaven Gallery (CH) https://www.heavengallery.com/

From Saturday, August 20 to Saturday October 1, 2022

Opening reception: Saturday, August 20 from 6-9pm

AMFM is a brand for artists and the people. We support emerging and established artists by offering a platform for them to showcase their talents and their passions on a larger scale and to the public through our web content, collaborations and our curated events. AMFM hosts events combining the arts to cultivate community, diversity, inclusivity, intergenerational engagement and of course, good vibes.

Featured Artists:

Marina Ross Kiara Jade

Hidrante is an artist-run project space located in San Juan, Puerto Rico. Since 2015, the project's core has been interested in long-term research and exhibition-making. Hidrante is programmed around the concept of exhibition-making as a creative process, focusing on presenting the artist's first solo exhibition and site-specific installations. Another aspect of the programming is an active interest in performance, new media, and location-specific works, seeking to present practices that often can't find space in traditional white-cube sites within San Juan, PR.

Featured Artist:

José López Serra

REUNIÓN is a collective that gathers an Exhibition Projects Room with Studios of Photography, Sustainable Design and Arts. Our aim is to serve as a meeting space for ideas, manifestations and critical thinking of social and community interest.

Archipelago of ideas and ideals.

Conceptualized in 2011 - Established in 2022

Featured Artists:

Pablo Santiago Romera Rosario Fernández Alexandra Santos Ocasio Germarilis Ruiz

Cachorra is an artist-run space dedicated to collaborating with emerging artists. Our main interest is to create the conditions that make first solo exhibitions possible. At the same time we are exploring the boundaries between curation, collaboration and collective production. Cachorra is based in Bogotá, iterating between different exhibition spaces around the city.

Featured Artists:

Nicolás Barrera Angélica Ávila Paloma Pardo

La Salita is a curatorial project and long-term investigation dedicated to researching and exhibiting contemporary practices of artists working across Latin America and its diasporas. Founded by curator and cultural organizer Elena Ketelsen González in 2019, La Salita hosted over fifteen exhibitions, gatherings, and public programs in its first two years as an alternative art space housed in a New York City apartment. As of 2021, La Salita shifted its focus and mission to the production of critical texts and collaborations with organizations, in order to nurture and develop discourses around a range of creative processes across the Americas.

Featured Artist:

Iván Sikic

alt__ A collaboration between Jon Veal and Jordan Campbell, alt Space Chicago (abbreviated alt_) was incepted by the two artists in response to the trauma of surrounding communities and the belief that art could be used as a tool for healing. Campbell’s family history of entrepreneurship and Veal’s lifelong passion for art met in a resolution to positively disrupt their communities through tangible acts of service. Sharing the mutual motivators of family, community, change and servanthood, Veal and Campbell moved forward to create alt_ Since its inception, alt_ has expanded into an artist-led, Chicago-based non-profit that is dedicated to revitalizing communities through art and culture. alt_ provides an alternative to the dominant cultural narrative, manifesting new opportunities in a time of need on the South and West Sides of Chicago.

Featured Artist:

Jon Veal

Contratiempo is a literary organization that highlights the cultural contributions of the Spanish-speaking diaspora. Our bilingual programs showcase the art, literature and journalism of immigrant communities and also facilitates exchanges between poets and writers in the USA, Latin America and Spain. We highlight vital immigrant stories and serve a second-generation audience with a bilingual, bicultural identity. Our all-immigrant and volunteer team also leads the organization, creating, curating and executing all programs presented on the page, our digital publication, the airwaves and the stage. Among these are Revista Contratiempo, a quarterly flagship magazine, Radio Contratiempo on Lumpen Radio; and ongoing creative writing workshops.

Featured Artists:

Ruben Tamayo Jasso Arturo Fresán Luis Conteras Jasjyot Singh Hans Esperanza Gama Chema Skandal

Heaven Gallery is a multi-disciplinary contemporary arts space in Chicago’s Wicker Park neighborhood that has presented emerging artists since 1997. The gallery’s mission is to elevate artists and connect Chicago communities. Heaven Gallery seeks to be a model for equity and sustainability by paying artists and creating regenerative opportunities. The space is much more than an art gallery; Heaven offers holistic programming that includes mutual aid workshops, classical concerts, and house music. The organization is committed to equity work through its racial equity policy, which requires the artists presented and board of directors to be a 60% BIPOC majority. In order to encourage submissions from a diverse pool of artists, the gallery widely promotes an open proposal process and does not charge submission or exhibition. Part of its commitment to equity the gallery pays stipends to exhibiting artists and curators. Heaven strives to make programming accessible to all community members; all art exhibitions and events are free of charge, and all music events are open to audiences on a pay-what-you-can basis. Heaven also hosts regular community events to help promote civic engagement through public discussion and education. A hallmark of this Wicker Park institution is to make contemporary art more approachable to the general public by blurring the line between retail space and art gallery. In 2010, the organization added a small vintage shop to the gallery, which uncovered a sustainable revenue stream that accounts for more than 50% of its income. The model creates sustainability to the arts and provides a space to build community.

Featured Artists:

Julia Arredondo Christine Forni kg

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thefranklinoutdoor · 2 years

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The Franklin is proud to be a participating project space at

Nubes Art Fair

Featuring:

Alberto Aguilar

Dennissa Young

Remy Bordas

Olivia Juarez

Whitney LaMora

Hugo Ivan Juarez

on view at Heave Gallery

July 15 to August 28, 2022

For more information, please go to:

https://heavengallery.com/blog/nubes-art-fair

Related events:

We Are The Contemporary Art World

by Hugo Ivan Juarez Alatorre

Sunday, August 7 from 1pm to 5pm

at Heaven Gallery

https://www.heavengallery.com/blog/curating-outside-white-cube-how-bipoc-leadership-changing-art

Due to the Current Situation

Dennissa Young and Whitney LaMora

Saturday, August 20th at Heaven Gallery

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thefranklinoutdoor · 2 years

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Need a friend?

Curated by Dennissa Young and The Franklin

Opening reception: Saturday, April 30th

From 7pm to 9pm

From April 30th to July 2nd, 2022

‘Need a Friend?’ is surrounded by connection, friendship, and togetherness. Showcasing the wear and tear of relationships, the promise of returning for what was left behind, and the hope of new friendships to be formed. ‘Need a friend?’ captures humans and the bodies that hold memory, time and space for deep vulnerability, conversation and connectedness.

Each artist invited rallies around the theme of old and new relationships, considering their communal ties. These ties resulted in creating space for the audience to text in, reflect, and see themselves in the works by Rainn, MK Joss, Hugo Ivan Juarez, Whitney LaMora, Dennissa Young, Galina Shevchenko and Frank Vega.

Whitney LaMora (she/her) is a queer creative based in Chicago. She is the Founder & Curator of The Martin, an artist-first community space located in the West Town neighborhood of Chicago. Her curatorial work has been featured with Woman Made Gallery, Stay Home Gallery & Dear Artists With Anxiety. Outside of her curatorial work, she specializes in building intimate, immersive & relational performances and experiences. You can find her work on Instagram @whitneycurates and her website whitneylamora.com. She lives in Ukranian Village with her partner and their nice & naughty pets.

Rainn (She/They) is a Black, queer writer and artist living in Chicago. Her writing explores the intersections of Black pop culture and religion, as well as Black sexuality. Her work has been published in various publications online. Rainn is also host of a queer, monthly open mic called, “Fruit Salad”. Rainn’s artistic work focuses on found-object sculpture, installation, and photography.

Hugo Ivan Juarez (he/him) was born and raised in Dallas, TX. He could be identified as Mexican-American but embraces the philosophy of no nation. H.I.J. dropped out of college in 2012 to pursue dreams in streetwear fashion. He put to rest a clothing line after it began to compromise his ethics but then quickly discovered the world of printmaking. Print has since become a gateway back into education but in the last decade, he labored as a yardero, farmer, catholic worker, and ESL teacher. During the pandemic he gave himself two years of limitless creativity while milking the institution for all it's got. In Chicago, he is performing the social and repurposing left behind art materials. In Dallas, he co-runs Familia printshop in which he attempts to activate as a rallying point. H.I.J. believes that energy can be shaped and that making friends is an art form.

Dennissa Young (she/her) is a Native New Mexican with Spanish and Indigenous roots, currently residing in Chicago. She works primarily in performance and relational aesthetics. Her art focuses on activating, organizing and collaborating. Dennissa has exhibited in almost all the places she has lived, both nationally and internationally. Her work strives to foster friendship, radical softness, and to question the spiritual journey we are all on. Dennissa’s artistic practice creates time, space and honesty, where audience members can engage and participate however they see fit.

MK Joss (She/They) is a photographer and visual creator from the San Francisco Bay Area. Forced by her youth pastor to join the drama team in Junior High, she fell in love with the stage and performance. This love and passion for performance transformed over the years into a deep love for film and photography. She moved to Los Angeles to study film production and telecommunications. After growing to loath Hollywood and their racist, homophobic and misogynistic ways, she lost her passion for creation; until a global pandemic no one was prepared to deal with forced everyone into their homes. She spent this free time getting reintroduced to film photography. Following work to NY, she spent most of the last 2 years living between Long Island, Bushwick, BK, and Los Angeles, eventually landing in Chicago with her partner and two cats. Her work focuses on the beauty in the everyday through intimate portraits of family and friends and architectural landscapes.

Galina Shevchenko is a Moscow-born, Chicago based multimedia artist and educator working across multiple modes of expression and image processing. Fluid, elusive and illusory entity of her video-scapes and permeable transparency of her constructed objects manifest her ongoing exploration of post-feminist identity through mediation. Galina’s work has been featured at Pushkin Museum of Fine Arts, Moscow; CADAF Paris; Aqua Miami International Art Fair; Berlin’s Director’s lounge video festival; Chicago Motion Graphics Festival; Hyde Park Art Center, Chicago and numerous Chicago Art Galleries. Galina holds an MFA in studio art from the School of the Art Institute of Chicago, she is currently a resident artist at Chicago Art Department and an Assistant Professor of Art and Digital Multimedia Design at Harold Washington College.

Frank Vega is an Ecuadorian-born interdisciplinary artist living and working in Chicago. This May he will receive his Master of Fine Arts from the School of the Art Institute of Chicago and completed a Bachelor of Fine Arts from the University of Illinois at Urbana-Champaign. Vega’s work includes a combination of sculpture, painting, and hybrid objects. Using found objects as a starting point, he collages them into larger structures that resemble bodies, altars, and amulets for their healing abilities. Some exhibitions include Ambiente Humano, Galeria 54, Curated by Anna Garner, Mexico City, Mexico, Visceral, two-person exhibition, Extra Projects, Chicago, IL. Some awards include the Helen Frankenthaler Scholarship from the School of the Art Institute of Chicago, the Florence M. House Scholarship, and the Helen E. Platt Blake Scholarship from the University of Illinois at Urbana-Champaign.

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thefranklinoutdoor · 2 years

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@barely_fair

@thefranklinoutdoor

@alvert0aguilar

@selvaaparicio

@butttalk

@olive_pits

@_bad_spy

@carolinerobe

@navillus_woodworks

@edrasoto

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thefranklinoutdoor · 3 years

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STILL LIFE

at The Franklin

On view from October 16, 2021 to April 10, 2022

OPEN during EXPO weekend!!

noon - 4pm from April 7 -10

No appointments necessary / outdoor venue

THE FRANKLIN

3522 W. Franklin Blvd. Chicago, IL 60624

Having a relationship with my surroundings is linked to my sense of being consciously present in one place.

The natural world and all its life force nourishes and enables out planet to survive. We should welcome the embrace as it fosters life on our planet.

I am navigating new surroundings while thinking through a familiar set of old concerns: geography, transience, shifts, slippage, belonging, community, identity, home.

I notice the subtle changes and movements in my surroundings. I respond to the environment, the spaces, the places and the objects around me. I try to create new meaning and logic by rearranging them.

If I’m thinking about the cosmos, my relationship is entangled and really really old.

If I’m thinking about DNA my relationship is my grandmother, my great grandparents, and their journeys across seas, an ocean, and colonized land to a place called the ‘middle-west.’

If I think about the cosmos I know that there is no upside-down, or north, or ‘western’ and that is useful. And if I look around myself I think about people I love who love me as well.

Not only do psychedelics re-connect us with nature but that connectedness also makes us feel better.

When I see, my eye is the material for the reception of the image. My toes touch soil of the same chemical cocktail as my foot. When I go, I’ll return what I’ve borrowed.

Constantly exploring new surroundings as sensory knowledge building through the structures, people and cultures I'm surrounded by.

When I think of my surroundings, I find myself thinking most deeply about our metaphysical landscapes. I think about what it does to our health to carry so much psychic weight in the form of personal, collective and ecological grief.

Is like being a stranger in a strange land. The limitations of knowing no one, lacking English skills, and having extremely restricted resources became my new possibilities.

Watching them continue to die is a transformation that takes on beautiful and unexpected turns. They help me pay attention to my surroundings, and all the things that come and go from our lives. They remind me beauty is difficult.

Inspired by two themes, landscape and absence, she conveys a wake-up call about the effects of economic growth on environmental sustainability and the island’s inhabitants.

I see a lot going on or nothing much at all and I try to make something beautiful of it either way. At my best I see the best in what is close.

Today on the train a black woman three seats away offered me a seat next to her.

Smiled.

Nodded.

Mouthing words of understanding.

Kindred spirits.

Pleasing and appeasing the needs of others

with less of an ancestral weight of womaness of blackness.

The seat was left empty for stops.

Emptiness filled with fear of black skin and kindness for her likeness.

The natural world and all its life force nourishes and enables out planet to survive. We should welcome the embrace as it fosters life on our planet.

Grass, the cicada, and corn adorn the boot and skull, touching on each artist’s personal history as well as the rhythms and patterns of life, culture, politics, and death. We, like the cicadas and the corn continue our lives in cycles as we adapt to today’s ever-changing climate.

— This statement is a composition of fragments and sentences submitted by the artists in response to the prompt: What is your relationship with your surroundings?.

No appointments necessary / outdoor event. Mask is required for indoor access.

THE FRANKLIN is a Cultural and Organizations partner for the Chicago Architecture Biennial.

Satellite partners for this exhibition and events include Garden Apartment Gallery @gagchicago and Compound Yellow @compoundyellow. Please visit https://thefranklinoutdoor.tumblr.com/ for more information.

THE FRANKLIN: 3522 W Franklin Blvd, Chicago, IL 60624 (312)823-3632 @thefranklinoutdoor

Marzena Abrahamik (b. Poland, grew up in Greece) lives and works in Chicago, IL. She received a MFA in Photography from Yale University and a BA in Political Science and Philosophy from Loyola University. Her work draws on ordinary experiences to address the intersection of photography, feminist modes of identification and representation. Abrahamik is visually inspired by attachments to unachievable, deceiving yet necessary for survival fantasies, as they take shape in intimate and communal formations. Meticulously composed, with a focus on sensibility through light and gesture, the photographs question the operations that have historically defined the feminine as a social category. Her exhibitions include: Girl Play & A L'ouest, solo exhibitions at Johalla Projects, solo exhibition at The Turchin Center for the Visual Arts (Boone, NC) and solo exhibition Gallery of Classic Photography, (Moscow, Russia). Group exhibitions at Heaven Gallery (Chicago, IL), Latitude (Chicago, IL), Whitney Houston Biennial (New York, NY), Silver Eye Center for Photography (Pittsburgh, PA), Weinberg/Newton Gallery, (Chicago, IL), Soccer Club Club (Chicago, IL), Aperture (New York, NY), Sushi Bar (New York, NY), Art & Design Festival (University of Ulster, United Kingdom), and the International Photography Festival (Tel-Aviv, Israel). Her work is included in the collections of the Art Institute of Chicago, Museum of Contemporary Photography and Haas Library. Abrahamik is the recipient of the John Ferguson Weir Award, PACC, and IAS Artist Project Grant.

Regina Agu, Passage (installation view at New Orleans Museum of Art), 2019, digital print on Samba Opaque, 4 panels total dimension 100 ft x 6ft.

Regina Agu was born in Houston, TX. She relocated to Chicago in spring 2020, where she now lives and works. Her work has been included in exhibitions, public readings, publications, and performances internationally. She has exhibited most recently in the 2021 Atlanta Biennial: Of Care and Destruction, and the 2021 Texas Biennial: A New Landscape, A Possible Horizon. Her first solo museum show, Passage, was presented at the New Orleans Museum of Art (2019-2020). Her work has been supported by an Artadia Houston award, grants from Houston Arts Alliance, The Idea Fund, and the Kathrine G. McGovern College of the Arts + Project Row Houses fellowship at the University of Houston for her research project A Psychogeography of Emancipation Park. She has attended residencies at the Joan Mitchell Center in New Orleans through a partnership with For Freedoms, A Studio in the Woods, Open Sessions at The Drawing Center in NYC, Atlantic Center for the Arts, Lawndale Artist Studio Program, among others. From 2014-2017, Agu was the co-director of Alabama Song, a collaboratively-run art space in Third Ward, Houston, which received a 2016 SEED grant from The Robert Rauschenberg Foundation. Agu is the founder of the Houston-based WOC Reading Group, and her other collaborative projects include Friends of Angela Davis Park and the Houston-based independent small press paratext. Agu holds an MFA from the School of the Art Institute of Chicago.

Upon arriving to Los Angeles by train I arrange flowers that fell from a tree into a line, 2021

Alberto Aguilar: I wrote this line in Los Angeles while standing in line on my phone waiting to board a plane to return to my home in Chicago. I wrote this line the next morning on my laptop while sitting in my favorite green seat from the comfort of home. A little later I will take the blue line train to meet my new students for the semester at The School of the Art Institute of Chicago. Like all other aspects of my life, teaching is an integral part of my practice. I view my work as an opportunity to make a meaningful connection with the viewer using whatever material is at hand.

"open sky" video still, Kyle Bellucci Johanson, 2021

Kyle Bellucci Johanson completed a B.A. in Reconciliation Studies and Art from Bethel University in 2009. In 2008 he studied peace and conflict at the University of Ulster in Derry/Londonderry, Northern Ireland, and completed an M.F.A. at California Institute of the Arts in 2016. Kyle was a 2015 fellow of at land’s edge, an artist-led, autonomous, and experimental platform focused on intergenerational mentorship and engaged programming in community-run spaces across east and south Los Angeles. In 2018 he opened table, a temporary project space dedicated to situating artist’s practices through exhibition, discursive meals, and publication. Presently Kyle works as a part-time faculty member of the the School of the Art Institute of Chicago. He has been a visiting faculty at University of Illinois at Chicago, and is a 2020-2021 recipient of the BOLT artist residency of the Chicago Artists Coalition. Kyle’s work has recently been on view at Gray Center for Arts and Inquiry at the University of Chicago (Chicago, Illinois), Bill’s Auto (Chicago, Illinois), Museum of Contemporary Art on the Moon (MOCAM), Automata (Los Angeles, California), Sullivan Galleries at the School of the Art Institute of Chicago (Chicago, Illinois), ALTES FINANZAMT (Berlin, Germany), Centro Cultual Metropolitano – MET Quito (Quito, Ecuador), and Human Resources (Los Angeles, California).

Lionel Cruet b. in San Juan, Puerto Rico, lives and works in New York City and San Juan. Received a Bachelor in Fine Arts from La Escuela de Artes Plásticas en Puerto Rico and a Master in Fine Arts from CUNY - The City College of New York, and a Masters in Education from the College of Saint Rose. In his artworks he uses multiple mediums including experimental digital printing processes, performance, and audiovisual installations that confront the audience with issues that concern thoughts around ecology, geopolitics, and technology. His artworks have been included in exhibitions at the Bronx Museum of the Arts (2017); Everson Museum of Art, Syracuse (2017); Museo de Arte Contemporáneo de Puerto Rico (2013); and Universidad de Sagrado Corazón, Puerto Rico (2014); and a solo exhibition at the Bronx River Art Center (2015) and most recently Centro de Arte Contemporaneo de Quito (2021) and have been reviewed by multiple publications around the world.

Keeley Haftner, “Glitter Bottle”, 2019, Performance (glitter, water bottle)

Keeley Haftner is a Saskatchewanian-Canadian artist based in the Netherlands whose artwork deals with garbage as a material and as a philosophical construct. Haftner’s work has been exhibited internationally in the US, Canada, and Europe at venues including MOCA (Toronto), Schering Stiftung (Berlin), and the Art Institute of Chicago. She received her BFA in 2011 from Mount Allison University and her MFA in 2016 from the School of the Art Institute of Chicago in Fiber and Material Studies. She is a current recipient of the Canada Council for the Arts Research and Creation Grant, and a Hague Artist with Stroom Den Haag.

Devin T. Mays, An Orange Dragon 2019 Ceramic and cast iron plates Dimensions variable

Devin T. Mays holds a B.B.A in International Business and Marketing from Howard University. After receiving his degree, he worked in advertising developing brand strategies and commercials for the better part of a decade. He returned to school to pursue an M.F.A in studio practice from The University of Chicago. There, he developed an interdisciplinary practice he often refers to as an exercise in the infinite, a practice-in-participation, a practice-in-practice. Since then, he has exhibited at the Museum of Contemporary Art, Chicago; Museum of Contemporary Photography; Lowe Art Museum, University of Florida; Nahmad Projects, London; DePaul Art Museum, Chicago; Regards Chicago and The Gray Center among others. He currently lives and works in Chicago, IL.

Elsa Muñoz Controlled Burn 25, 8"x8", oil on panel, 2021

Elsa Muñoz is a Mexican-American artist born and raised on the South Side of Chicago. She credits her interest in both nature and healing to her experiences growing up in an underserved and often unsafe community with little access to green spaces. Spending most of her childhood indoors led to the cultivation of a rich inner world in which she was able to find beauty and sanctuary. Muñoz writes, “Beyond any particular message in my work, I'm always fundamentally seeking to call upon and transmute my earliest encounters with the natural world--imaginary encounters which filled me with wonder and longing.” Elsa received her BFA in oil painting from the American Academy of Art in 2006. She's since had 8 solo shows including one at the National Museum of Mexican Art (2011) and at the Union League Club of Chicago (2016) along with several group shows throughout the United States. She was recently awarded the Helen and Tim Meier Foundation For The Arts Achievement Award (2019). Notable collections include the National Museum of Mexican Art (Chicago), North Park University (Chicago), and the private collection of Martin Castro, Chairman of the U.S. Commission on Civil Rights under President Barack Obama.

Caroline Robe, “Two monuments from above, 2021”

Caroline Robe is a woodworker, sculptor, food-grower, jeep-wrencher, and co-operator from Maine who has made a home in Chicago. Their work is small time world building— from a cohousing community to a material culture that could’ve been.

Kellie Romany, From the “Proximity” series, Watercolor on Paper, 2021, 3” x 3”

Kellie Romany is an abstract painter interested in bodily representation, materiality, and the history of the painting process. Using a color palette of skin tones, Romany creates objects that act as a catalyst for discussion about human connections, femininity, and race and the systems surrounding these themes. She received a Masters of Fine Arts in Painting from the School of the Art Institute of Chicago in 2011 and a Bachelors of Fine Arts from the Maryland Institute College of Art in 2008. Romany has exhibited both nationally and internationally, including museum shows at the High Museum of Art, Crystal Bridges Museum of American Art, and DePaul Art Museum.

Onajide Shabaka, Flag (orchid), silk on silk, 44.5″ x 23″, 2012

Onajide Shabaka, b. 1948, lives and works in Miami, Florida. Shabaka was awarded an MFA [2000] from Vermont College of the Fine Arts. Shabaka’s art practice is focused primarily on the ethnobotanical, geological, archeological, historical and biographical themes related to the African Diaspora and Native American cultures. Through a well developed research based walking practice he has explored the environment and its biology allowing site specific histories and nature to reveal the untold historical narratives from the past in the form of film, photography, sculpture, and mixed media works on paper.

Selected solo exhibitions include, “Alosúgbe: a journey across time,” The Studios of Key West, Key West, Florida (2020); “Alosúgbe: a journey across time,” Emerson Dorsch, Miami, Florida (2019); “Floridian Lacunae,” The Art and Culture Center/Hollywood, Hollywood, Florida (2019). Selected group exhibitions: "Why Shouldn't We Talk About These Things at the Table?,” Florida Atlantic University, Boca Raton, Florida (2020); Round 49: “penumbras: sacred geometries” Project Row Houses, Houston, Texas (2019); “Reconstructing Identity,” Museum of Contemporary Art of the African Diaspora, Miami, Florida (2019). Recent awards: Locust Projects Wavemaker Grant and Oolite Arts Ellies Grant to facilitate two residencies in Brunswick, Georgia (2020) and in Darien, Georgia (2019).

Marcela Torres b. Salt Lake City, Utah. Residing in a transitory journey between Utah, Illinois and New York. Torres is a performing artist, organizer and educator chasing sensorias towards proprioceptive generational portals. Torres received a BA in Sculpture Intermedia and a BFA in Art History from the University of Utah, continuing their studies with a MFA in Performance from School of the Art Institute Chicago. Torres has performed at the Bemis Center for Contemporary Arts (Omaha, NE), The Momentary (Bentonville, AK), Fringe Festival (Detroit, MI), Experimental Actions (Houston, TX) and Time Based Arts (Portland, Oregon). Torres has exhibited work at Recess (Brooklyn, NY), Hyde Park Art Center (Chicago, IL) UW-Parkside University (Kenosha, WI) , Tropical Contemporary (Eugene, OR), Petzel Gallery (NYC, NY). In 2021 Torres will be a resident at Creative Exchange Lab at the Portland Institute for Contemporary Arts and Denniston Hills Residency.

Rodrigo Valenzuela, New land #90, 29 x 34, Acrylic and toner over canvas, 2021

Rodrigo Valenzuela (b.Santiago, Chile 1982) lives and works in Los Angeles, CA, where he is the Assistant Professor and Head of the Photography Department at UCLA. Valenzuela has been awarded the 2021 Guggenheim Fellowship in Photography and Smithsonian Artist Research Fellowship; Joan Mitchell award for painters and sculptors; Art Matters Foundation grant; and Artist trust Innovators Award. Recent solo exhibitions include New Museum, NY; Lisa Kandlhofer Galerie, Vienna, AU; Jordan Schnitzer Museum of Art, Eugene; Orange County Museum; Portland Art Museum; Frye Art Museum, Seattle. Recent residencies include Core Fellowship at the Museum of Fine Arts, Houston; Skowhegan School of Painting and Sculpture; MacDowell Colony; Bemis Center for contemporary arts; Lightwork; and the Center for Photography Woodstock.

Norma Vila Rivero, Visit Cueva Ventana: A Breathtaking Window to the Past, 2021, Archival pigment print on Moab Entrada Bright Paper mounted on Styrene, edition 1/5 24 x 36 inches Courtesy of the artist

Norma Vila Rivero (Puerto Rican, born 1982) interdisciplinary artist, exhibit coordinator and cultural manager. She received a B.A. in Visual Arts from Universidad del Sagrado Corazón (2005) and a M.A. in Art Administration from Ana G. Méndez, Universidad del Turabo (2010). Her work has been presented in Argentina, Dominican Republic, Ecuador, Mallorca, Mexico, Norway, Peru, Puerto Rico, Switzerland, Saint Croix, and several states in the U.S. In 2017, she was selected to participate in the Occupy Museums Debt Fair installation at the Whitney Biennial. In 2020, she received a National Association of Latino Arts and Cultures Artist Grant to continue her project “A Metaphor Against Oblivion.” Vila Rivero's work is in the Luciano Benetton Collection, the collections of Museo de Arte de Puerto Rico (San Juan, PR), Museum and Center for Humanistic Studies Dra. Josefina Camacho de la Nuez (Universidad del Turabo, Caguas, PR), and FIART Foundation (International Foundation Fund for the Arts, Madrid, Spain), and numerous private collections.

Amy Vogel has had solo exhibitions at Larissa Goldston (NY), Paul Kotula (Detroit), Edward Mitterrand (Geneva), and Air de Paris (Paris). In 2014 she had a survey of 15 years’ work, entitled Amy Vogel: A Paraperspective, at the Cleve Carney Gallery at the College of DuPage. She has participated in group shows at Western Exhibitions (Chicago), White Columns (NY), The Suburban (Oak Park), FRAC Haute-Normandie (Sotteville-lès-Roue), Francesca Pia (Zürich), and other venues. Vogel’s work has been reviewed in national and international periodicals, including the Chicago Tribune, the New York Times, and Artforum. She is Associate Professor in the Department of Contemporary Practices at the School of the Art Institute of Chicago.

Satellite event:

Tesselescence (Green Space)

by Keeley Haftner

In partnership with Garden Apartment Gallery @gagchicago

Location: 3530 W. Fulton Blvd, Chicago

For information: @thefranklinoutdoor and https://thefranklinoutdoor.tumblr.com/

Keeley Haftner, Xtreme Green Grass Paint is painted on the lawn of the artist’s backyard. This paint was created in California for use in making drought-affected lawns green.

“Tesselescence (Green Space)” is a series of installations on neglected green spaces in and around Humboldt Park and Garfield Park, Chicago. They will be created using a tessellated cube pattern called “tumbling blocks” in three tones: the tone of ungroomed grass, the tone of trimmed grass painted with biodegradable lawn paint, and the tone of open soil embedded with bee and butterfly-attracting seeds. When first installed, the geometric pattern will appear clean and sharp, but over time it will 'rewild' into an ecologically active and natural space, one which “keeps in touch” with the local entomological needs in Chicago’s urban environment. The black and white binary of nature and culture will literally and metaphorically blur as the anthropocentric language of landscaping is overtaken by nature’s (eco)logic.

Kouri Hall

Live performance on Saturday, October 16 at 7pm

Kouri Hall is the collaborative music project of artists and multi-instrumentalists Chad Kouri and Andy Hall. Their sound is categorized as Creative Improvised Music—or All Genre—pulling references from various influences, including jazz, folk, rock, classical, funk, hip-hop, dance, experimental music, and high school band class. Utilizing a myriad of instruments, including percussion, synthesizers, tenor saxophone, guitars, bass, and various effects and samples, their systematic and spontaneous minds combine to make music that starts as intuitive, improvised mantras, evolving into playful long-form celebrations of joy, curiosity, exuberance, and self-expression.

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thefranklinoutdoor · 4 years

Photo

T E A M W O R K

The Franklin is proud to present Teamwork, a group exhibition featuring the works of artists and designers that explore collaborative methods and processes in their respective practices. Teamwork responds to collaborative efforts in a variety of forms, including: the act of collaborating as a team; collaboration through site responsive gestures; conceptual collaborations; through participatory work or though the merging of ideas and contexts.

Traducción (Tradición) Alberto Aguilar

For the past 9 years, Alberto Aguilar has worked regularly with a family run sign painter near his home on the Southwest side of Chicago. Southwest Signs specializes in hand lettering and has been making signs for store fronts around the city since the 1960's. Growing up in his parents small grocery store, the language of hand painted sale signs is familiar to Aguilar. He views his exchange with Southwest Signs as a collaboration and only works within the restraints of their established visual language. It begins with a small drawing on notebook paper that Alberto sends to the sign painter and is then returned to him as a computer generated drawing. Once approved by Aguilar the sign is hand painted in a large format and hung in public spaces around the city. Normally, Aguilar uses word play and English/Spanish cognates when creating these signs. But for this work, he has redacted all text, translating the sign painter's visual language into a mix of gestural and formal abstraction.

Alberto Aguilar is a _______-based artist born in _______, __. in the year ____. He has exhibited his artwork at various museums including the ________ Museum of _______ Art, Museum of ___________ Art _______, ___________ Institute of Art, The _______ _______ Museum of ________ Art and The Art _________ of _______. In his work he uses a straightforward visual language to connect with the viewer but purposefully voids out information as a way to create intrigue. Traducción (Tradición).jpg

Feedback

Maria Gaspar

FEEDBACK is as a living archive of Gaspar’s ongoing community-based site-interventions at and around Cook County Jail in Chicago. This self-published compendium marks a beat in the evolution of two large-scale projects that Maria has led since 2012: 96 Acres Project and Radioactive: Stories from Beyond the Wall. The artist book is comprised of five screen-printed posters and a 7" vinyl record. The die-cut posters include short essays, critical pedagogy in the form of curriculum, and original artwork, and poetry. Contributors include nationally recognized writers, as well as locally celebrated cultural leaders, educators, artists, and Radioactive Ensemble members (formerly and currently incarcerated men at Cook County Jail).

*FEEDBACK contributors include: Rahmon Ali, Paris Baker, Frederick Barker, Jacob Barth, Marlon Baymon, Roger Bonair-Agard (Free Write Jail Arts), James Collier, Romi Crawford, Michael De Anda Muñiz, Bianca Diaz, J.D. Edwards, Nicole Gonzalez Van Cleve, Silvia I. Gonzalez, Avery Gordon, Victor Guerrero, Steve Hatfield, Martin Howard-Páez, Douglas Johnson, C. McLaurin (Prison & Neighborhood Arts Project), Alex Petik, Ernesto Pujol, Andrew Santa Lucia, Angelo Santa Lucia, Scrappers Film Group, Sarah Ross (Prison Neighborhood Arts Project), Alex Soto, Masean Spencer, Novell T., James Taylor, Lori Waxman.

Sonnenzimmer, Designers; Alex Inglizian, Sound engineering and design; Allison Cochrane, Project Manager; Alena Jones, Editor.

This project is supported by the Robert Rauschenberg Foundation and Creative Capital Foundation.

Bio: Maria Gaspar is an interdisciplinary artist whose work addresses issues of spatial justice in order to amplify, mobilize, or divert structures of power through individual and collective gestures. Through installation, sculpture, sound, and performance, Gaspar's practice situates itself within historically marginalized sites and spans multiple formats, scales, and durations to produce liberatory actions. Gaspar's projects have been supported by the Art for Justice Fund, the Robert Rauschenberg Artist as Activist Fellowship, the Creative Capital Award, the Joan Mitchell Emerging Artist Grant, and the Art Matters Foundation. Maria has received the Sor Juana Women of Achievement Award in Art and Activism from the National Museum of Mexican Art, and the Chamberlain Award for Social Practice from the Headlands Center for the Arts. Gaspar has lectured and exhibited extensively at venues including the Contemporary Arts Museum, Houston, TX; the Museum of Contemporary Art, Chicago, IL; the African American Museum, Philadelphia, PA; and the Institute of Contemporary Art, Los Angeles. She is an Associate Professor at the School of the Art Institute of Chicago, holds an MFA in Studio Arts from the University of Illinois at Chicago, and a BFA from Pratt Institute in Brooklyn, NY.

Sculpturelandia: Olivia Juarez & Remy Bordas Spirit of the Dead Twerking (After Gaugain)

By finding new contexts for familiar forms, they make connections between cultures, taught history, and society while also sometimes creating long, verbose sentences that reveal very little about their thinking. Sculpturelandia is Olivia Juarez and Remy Bordas.

Olivia Juarez is an artist and designer based in Chicago, IL. Born to Peruvian and European-American parents, she is inspired by the intangible energies created in relationships. Interdisciplinary by nature, she works primarily with metal, digital media, and soft materials. She holds a BFA in Sculpture from Alfred University.

Remy Bordas is an artist and designer based in Chicago, IL. Born and raised in Miami, FL to Cuban and Dominican parents; his heart cries out for the sun and ocean. He is an interdisciplinary artist who has exhibited work across the US. He holds a BFA in Ceramics and Sculpture from the University of Miami.

Edra Soto & Dan Sullivan Articulación

Crafted in shedua wood, Articulación is a set of wood blocks inspired by decorative concrete breeze blocks prominently used for decoration and ventilation. Sullivan and Soto altered scale, material and positioning of the traditional blocks to visualize multiple configurations of the various shapes and their potential to become immersive and functional at larger scales.

Edra Soto (b. PuertoRico) is a Chicago based interdisciplinary artist, educator, curator, and co- director of the outdoor project space THE FRANKLIN. She is invested in creating and providing visual and educational models propelled by empathy and generosity. Her recent projects, which are motivated by civic and social actions, focus on fostering relationships with a wide range of communities. Primary mediums include immersive installations, architectural interventions multi- dimensional approaches.

Dan Sullivan, Navillus Woodworks is a Chicago based design-build company specializing in fine furniture, high end millwork, architectural elements, and museum and artist works. Working with some of the leading designers, artists, and architects in the region, Navillus has set itself apart through impeccable craftsmanship, meticulous planning, and a refined eye for contemporary design. In- house CNC router capabilities and fluency in multiple software platforms facilitate innovative design and implementation.

E. Saffronia Downing Cloverstack

Using plaster cast in sand, Downing draws shapes from highway maps. The highway interchange is a road function used to join streams of traffic to the motorway. Downing reproduces the knot-like figures of four typical interchanges: the cloverleaf, cloverstack, windmill, and diamond. Through this work, Downing twists typical infrastructure into an earthly symbology. The construction of the highway system becomes an earth shaping allegory of a future-present.

Roads fold into the motorway

paths of graded separation

looping like a weaver’s knot

cleaving land

asphalt joins distant places

E. Saffronia Downing (b. 1992) is a Chicago-based artist who uses video, ceramic sculpture, and other media to map material residue across landscapes of time and place. She received her MFA from School of the Art Institute of Chicago and her BA in Studio Art from Hampshire College. Downing is known to use foraged material to create site-specific installation and sculpture. Her work was recently featured in the Fall 2019 Setouchi Triennial in Japan. She has also exhibited nationally at numerous Chicago and Baltimore galleries.

Marina & Cecília Resende Santos

“Open Sheds Used for What?”

“Open Sheds Used for What?” is an experiment in the open construction of space. Over several weeks, artists are invited to intervene and occupy a steel frame with ephemeral works that engage with the site, exploring questions of place-making and public space. For the month of June, the frame was located in an empty lot on 34th Place and Morgan Street, in Bridgeport. In July, the structure moved to Pilsen, roaming between three sites around the intersection of Sangamon and Cullerton Streets until late August. In its third life, the shed moves near the Franklin, where it will continue to host interventions. New works and events will be shared on Instagram and archived on the website and in an upcoming brochure.

“Open Sheds Used for What?” is organized by Marina and Cecília Resende Santos in collaboration with the artists, writers, and designers activating the space.

Website: http://openshedsusedforwhat.com/

Instagram: https://www.instagram.com/opensheds_usedforwhat/

Marina Resende Santos is an artist and researcher interested in the poetics and politics of materiality and the inscriptions of desire in the environment. Her work involves walking and critical spatial practices, mapping, and urban interventions or ‘gestures.’ Marina earned a B.A. in Comparative Literature from the University of Chicago and is an incoming MFA candidate in Spatial Strategies at the Kunsthochschule Berlin. Her work has been shown at Defibrillator Gallery, ATIVA Atelier, Casa Rosada, http:// 2020 and the Festung Hohensalzburg. Her writing has appeared in Newcity, Hyperallergic, Sixty Inches from Center, THE SEEN, and more. Cecília Resende Santos is an artist, architectural historian, and gardener/beekeeper-in-training living in Chicago. Her interests include land-based practices and histories of land management, the social and intellectual formation of the built environment and the constitution of global modernities. She earned a B.A. in Art History from the University of Chicago and served as curatorial fellow at the 2019 Chicago Architecture Biennial. Marina and Cecília have collaborated on projects centered on place, knowledge, and meaning-making in the urban environment, including a 5-mile walk connecting their houses with string (Ato da Corda, 2019) and a roaming structure performing the open construction of space (Open sheds used for what?, ongoing).

Event info

https://www.newartdealers.org/programming/275-teamwork-exhibition-walkthrough-conversation

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor

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thefranklinoutdoor · 4 years

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(In) Between Out II

Alberto Aguilar

Artists Run Chicago 2.0

Location: Hyde Park Art Center

September 1st to November 1st, 2020

The Franklin is proud to feature the work of Chicago artist Alberto Aguilar as part of the exhibition titled Artists Run Chicago 2.0 at the Hyde Park Art Center. At the exhibition, you will find a replica of The Franklin fabricated by Hyde Park Art Center’s art preparator Andi Crist, repurposing previously used panels of the Franklin’s project space that have been weathered for a few years. Inside of it, Alberto’s installation titled (In) Between Out II. A complementary takeaway diagram of the exhibition created by Alberto’s daughter, artist Madeleine Aguilar, will be available at The Franklin replica as well.

The first iteration of this installation was originally shown at The Franklin in 2012. In this work, perception is confounded through the decisive placement of common material, playing on the architecture of the Franklin’s open air quality. Through visual confusion, it blurs boundaries between inside and outside, art and everyday, the installation and the exhibition space that holds it.

Alberto Aguilar is a _______-based artist born in _______, __. He has exhibited his artwork at various museums including The ________ Museum of _______ Art, Museum of ___________ Art _______, ___________ Institute of Art, The _______ _______ Museum of ________ Art and The Art _________ of _______. In his work he uses a straightforward visual language to connect with the viewer but purposely voids out information as a way to create intrigue.

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

COVID-19 update: The Franklin (outdoor project space) is accessible at all times while the exhibitions are on view. The side front and side gates will be open for easy access. No access to indoors (house) at this time. The Franklin Collection is on view by appointment only.

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor

0 notes

thefranklinoutdoor · 4 years

Photo

Don't You Stop, We Won't Stop

EC Brown Lise Baggesen Rodrigo Lara Zendejas

Reopening: Sunday, September 6, 2020

2pm to 4pm

Closing: Saturday, September 19

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You’re getting old, that’s what they’ll say, but Don’t give a damn I’m listening anyway Stop, don’t you stop I can’t live if you stop Don’t you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don’t stop Don’t you stop We won’t stop Don’t you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won’t give in Stop, we won’t stop Don’t you stop I can’t live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…” - Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie’s annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline. For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living. With Edra’s prodding, I’m pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity. EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions. Since 2005, I have mostly operated in Chicago’s domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Interpersonal relationships, intergenerational and intersectional eco- and cyber- and xeno- feminism, reproductive justice, therapeutic aesthetics, color field painting, sci-fi tie-dye, hippie modernism, bio-punk, grunge, glam, and disco, are some of the vernaculars that inform my body of work. Since graduating in 2013 from SAIC’s department of Visual and Critical Studies, this organic body has manifested itself in a hybrid and polydisciplinamorous practice, including writing, audio-visual installations, textile-, and sartorial works. Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active. Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

break from traditional shape, while presenting an assemblage version of our collective social and political thoughts, concerns, and hopes. Although I was trained in the traditions of classical art, my pieces now are not always clean. Or finished. Or beautiful. My work holds the memory of an intimate process of becoming. In some bodies of work, I present obvious nooks and gashes, broad, quick strokes, and secretive, featherlike fingerprints, all of which aided in the modeling of the clay during the process of bringing the subject to life. It is this visceral and intimate approach to materials and form that drive my subjects of memory and memorialization through all of my works. When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present. As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice. Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor

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thefranklinoutdoor · 4 years

Photo

"Open Sheds Used for What?"

Marina and Cecília Resende Santos

At The Franklin’s backyard

starting on Sunday, September 6, 2020

2pm to 4pm

"Open Sheds Used for What?" is an experiment in the open construction of space. Over several weeks, artists are invited to intervene and occupy a steel frame with ephemeral works that engage with the site, exploring questions of place-making and public space. For the month of June, the frame was located in an empty lot on 34th Place and Morgan Street, in Bridgeport. In July, the structure moved to Pilsen, roaming between three sites around the intersection of Sangamon and Cullerton Streets until late August. In its third life, the shed moves near the Franklin, where it will continue to host interventions. New works and events will be shared on Instagram and archived on the website and in an upcoming brochure.

"Open Sheds Used for What?" is organized by Marina and Cecília Resende Santos in collaboration with the artists, writers, and designers activating the space.

Website: http://openshedsusedforwhat.com/

Instagram: https://www.instagram.com/opensheds_usedforwhat/

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

Online: http://thefranklinoutdoor.tumblr.com

Instagram: @thefranklinoutdoor

0 notes

thefranklinoutdoor · 4 years

Photo

Cloverstack

E. Saffronia Downing

At The Franklin’s backyard

starting on Sunday, September 6, 2020

2pm to 4pm

The Franklin is pleased to present Cloverstack, a new body of work by artist E. Saffronia Downing.

Roads fold into the motorway

paths of graded separation

looping like a weaver's knot

cleaving land

asphalt joins distant places

THE FRANKLIN

3522 W. Franklin Blvd, Chicago IL 60624

Cell to text: (312)823-3632

Hours: Saturdays 2pm - 4pm and by appointment

Online: http://thefranklinoutdoor.tumblr.com

@thefranklinoutdoor

0 notes

thefranklinoutdoor · 4 years

Photo

Supermodels in Pandemic Times

@thefranklinoutdoor IG

Creatives often subscribe to various conceptual models in order to generate or present their ideas. But what happens when existing models of being an artist or creative person does not suit us? How can we be active agents in changing these paradigms? How can we project coherence within our multiple interests?

Supermodels in Pandemic Times features work produced by a selection of Edra Soto students from her Research Studio II course Supermodel: Models for Expanded Practices for the Contemporary Practices Department at the School of the Art Institute of Chicago. The selected work responded to a series of articles that examine the current forms of engagement explored in social media with a focus on Instagram activity. The student's work presented thematically responds to the covid-19 pandemic.

Participants include:

Andrew Basinski

Marina Dissinger

Ecem Erukcu

Deniz Goksel

Brendon Gross

Doga Ozilhan

Selena Sancaktar

Owen Sussman

Chloe Thompson

Alice Wang

Alana Whalen

Allen Ye

Helen Zhang

Chris Zhou

0 notes

thefranklinoutdoor · 4 years

Photo

0 notes

thefranklinoutdoor · 4 years

Photo

Don't You Stop, We Won't Stop

EC Brown Lise Baggesen Rodrigo Lara Zendejas Sarah Beth Woods Felicia Holman

Opening reception: Saturday, February 15 from 7-10 pm

From February 15 to April 25, 2020

“Hot topic is the way that we rhyme Hot topic is the way that we rhyme One step behind the drum style One step behind the drum style Carol Rama and Eleanor Antin Yoko Ono and Carolee Schneeman You're getting old, that's what they'll say, but Don't give a damn I'm listening anyway Stop, don't you stop I can't live if you stop Don't you stop Gretchen Phillips and Cibo Matto Leslie Feinberg and Faith Ringgold Mr. Lady, Laura Cottingham Mab Segrest and The Butchies, man Don't stop Don't you stop We won't stop Don't you stop So many roads and so much opinion So much shit to give in, give in to So many rules and so much opinion So much bullshit but we won't give in Stop, we won't stop Don't you stop I can't live if you stop Tammy Rae Carland and Sleater-Kinney Vivienne Dick…”

- Lyrics from Hot Topic by Le Tigre, 1999

EC Brown

My wife Catie's annual Krampusnacht event last December included a holiday market, and I presented a bin of paintings on chipboard that were folded like heavy 45 sleeves—with mulch+foliage+ploymer record shapes that became too encrusted to fit inside. The images invented an old psychedelic Krampus underground—militant and Luciferian. Dolly appeared as a surprise digression in the wee hours before the deadline.

For the past seven years of Krampusnacht, I have sidestepped the European relics in favor of thoughts about American undercurrents—rowdy, sexual, heretical, and perilously savage. But I like to imagine that the deeper magma is something propulsive and generative, rather than malignantly atavistic. An inevitable rebellion against civilized living.

With Edra's prodding, I'm pursuing the Dolly tangent: imagining a history in which the liftoff of her solo career was profoundly controversial—to the point that an enclave of armed male consorts developed around her. Perhaps her audience had detected a Luciferian bent in her, that would need time to transition to a more acceptable yet radical Christianity.

EC Brown: I prefer a collision of illustrative image-making that begs attention to narratives, and physical formats that shift these works into roles as implements or tactical objects addressing spaces and situations. Images have been a tempered fever-dream drawing from 1960s–70s aesthetics, pop occultism, science fiction, Modernist architecture, biomimetics, industrial photography and observational cinema. Often they are absurdist historical revisions.

Since 2005, I have mostly operated in Chicago's domestic artspaces. I co-organized Floor Length and Tux (2009–2014, with Catie Olson) and COMA (2006–2008, with Annika Seitz). I periodically organize a roving series entitled ASCII (2011–present). Since 2015, I have been conducting a discreet series out of my home entitled Tascam.

Lise Haller Baggesen

Mother is a noun and a verb; I regard my practice as a sourdough, a gestation of material, out of which individual works, texts, and shows are wrought, while the mother remains, active.

Lise Haller Baggesen is a Danish born, Amsterdam raised, Chicago based, interdisciplinary artist. Her hybrid practice includes writing, installation, performative, sartorial and textile-based work. She is the author of Mothernism, and exhibits internationally, most recently with the multimedia show HATORADE RETROGRADE: THE MUSICAL, which premiered at SoEx in San Francisco in 2019 and will travel to G400 in Chicago in 2020

Rodrigo Lara Zendejas

I create memorials—fragmented, mischievous, and imperfect realities that reflect both a formal

When considering the human form and its relationship to memorialization, immediate thoughts of bronze statues at historical sites come to mind. My fascination, however, is in the way that memory—with its inherent, ever-changing fluidity—disrupts our ability to fully or truthfully freeze, or memorialize people, moments, or perspectives in history. Instead, it is our momentary glimpses of memory and hindsight that drive how we understand the present.

As a Mexican immigrant to the United States, my works often rely on my own fragmented memories and stories of home, my direct experiences with fervent Catholicism, and other’s heroic (yet common) anecdotes of border crossing and acclimating to living in America. However, while my memories and relationships to patriotism, politics, my background, and my longing for the familiar certainly influence my work, it is my interest in the process, the poetics of the materials, and the action of sculpting that motivate my continued practice.

Born in Mexico in 1981, Rodrigo Lara Zendejas received a MFA from School of the Art Institute of Chicago (SAIC) in 2013. And his BFA from the Universidad de Guanajuato in Mexico in 2003. He has received several awards including: Proyectos Especiales FONCA (Fondo Nacional para la Cultura y las Artes) Mexico City; Emerging Artist Grant, Joan Mitchell Foundation, New York City; Jóvenes Creadores, FONCA, Mexico City; Extraordinary Abilities Visa, U.S. Citizenship and Immigration Services; Artist’s Grant, Vermont Studio Art Center; James Nelson Raymond Fellowship, 2013 SAIC Fellowship Competition; PECDA Estudios en el extranjero,Instituto Queretano de la Cultura y las Artes; the International Graduate Scholarship, SAIC; and the John W. Kurtich Travel Scholarship, SAIC Berlin/Kassel, Germany; among others. He won the first price in sculpture at the National Award for Visual Arts in Mexico in 2010. Lara held solo exhibitions at institutions such as the Museum of Modern Art in the state of Mexico, Hyde Park Art Center in Chicago, the National Museum of Mexican Art in Chicago, Kruger Gallery in Marfa, Texas, among others. He has been in such residencies as the Vermont Studio Center, ACRE, Ragdale, Cross Currents: Cultural Exchange, Mana Miami, and Rogers Art Loft. Currently, Lara lives and works in Chicago.

Flatscreen

Sarah Beth Woods

Hear the Glow of Electric Lights is a multifaceted project that centers around a black and white, 16mm reversal film, which investigates the choreographed performances of 1960s American pop music groups featuring girls and young women. During the summer of 2017, Sarah Beth Woods formed The Rhinettes, a conceptual girl group based out of Prosser High School on the West side of Chicago. Referencing the Supreme’s first nationally televised appearance and Cholly Atkins' choreography, the work reveals the inscription of sound on the body and other material surfaces.

Girl group: (L-R) Alexis Strowder, Yahkirah Beard, Anya Jenkins Cinematography: Brian VandenBos Choreography: Courtney Bradshaw Costumes: Ann Heggans, Sarah Beth Woods

Sarah Beth Woods is a Chicago-based multidisciplinary artist. Woods’ background as a painter and critical cultural worker has led to an interest in the aesthetics and political implications of modern surfaces and the body, specifically skin and hair, saturated color and shine. Cultural influences derived from formative years spent on the Southwest side of Chicago continue to manifest in the content and aesthetics of Woods’ work, specifically black material culture and women’s conceptual spaces as sites of possibility and transformation.

Activation

Felicia Holman

"Originally created as a commissioned response to Edra Soto’s 2018 exhibition ‘Open 24 Hours’, interdisciplinary artist Felicia Holman presents a reprise of her solo performance—Wassup w/that ‘YAC?! (WWTY). As both a cognac enthusiast and a native of Chicago’s South Side, Holman unpacks experiential / anecdotal support of the formative research cited in ‘Open24 Hours’. WWTY centers the perspective of a Black Gen X’er cis-female cognac consumer. How do historic/ (pop) cultural/ social/ economic factors impact and influence her consumption of “that smooth brown spirit”? Guided audience participation optional but warmly encouraged (21+ only). Total running time: 45-60 minutes, no intermission.”

Felicia Holman “Lifelong”: Chicagoan/ artist and Prince "fam" Felicia Holman is an independent cultural producer/programmer, as well as a co-founding member of Chicago-based Afrodiasporic feminist creative collective, Honey Pot Performance. Felicia creates, presents, and supports innovative interdisciplinary performance that engages audience and inspires community. Felicia’s artistic & professional practices are both are grounded in critical thought, intersectionality, community building & embodied storytelling. Some of her recent projects and career highlights include:

*Featured artist in Jenn Freeman's "The People's Church of The G.H.E.T.T.O" and the 10th edition of Erin Kilmurray's "The Fly Honey Show”.

*Selected as City Bureau's Fall 2019 Public Newsroom Series Curator.

*Featured presenter at Arts Administrators of Color Network-DMV's 2019 Annual Convening (DC). *Featured artist / facilitator at Flux Factory's "Must They Also Be Gods" group exhibition (NYC).

*Facilitating career development programming for emerging artists.

THE FRANKLIN

Address: 3522 W. Franklin Blvd, Chicago IL 60624 Cell to text: (312)823-3632Hours: Saturdays 2-4pm and by appointment Online: http://thefranklinoutdoor.tumblr.comInstagram: @thefranklinoutdoor

0 notes