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DOCUMENT is pleased to present Ode to Seekers 2012, Andrew Norman Wilson’s second solo exhibition at the gallery. The exhibition will open on September 17, 2016 and continue through November 5, 2016.

Andrew Norman Wilson is an artist and curator based in Los Angeles whose videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands. He has recently had work featured in the seventh Bucharest Biennale, the ninth Berlin Biennale, and will have a new video installation as part of the eleventh edition of the Gwangju Biennale, curated by Maria Lind, which opens on September 2, 2016.

ODE TO SEEKERS 2012 is a looped video that celebrates mosquitoes, syringes, and oil derricks. Not only are they symbols of some of the most significant threats to human life—mosquito borne illnesses, drug addiction, and the petroleum industry—but they are also the causes of three of my most significant personal traumas.

In 2012 I received psychological testing at Rockland Psychiatric Center in Orangeburg, New York, which had been a pioneer of the “therapeutic suburb” model for mental institutions when it was built in 1927. I realized that a large portion of the campus had become abandoned, and not only hadn’t been cleaned out, but carried a history of sporadic reactivation by junkies, homeless people, teens, and artists. I began bringing friends there to explore and shoot video, and on my last trip I shot footage in which I misused a Steadicam to create what seems to me like a mosquito’s point of view.

Like Steadicam footage, which is meant to transport the viewer to the perspective of someone—or something—else, CGI is a technique based in seeking. It illustrates objects hidden from view or movements too small for the naked eye, with the potential for a cartoon physics beyond the laws of our physical universe. I worked with the Romanian animator Vlad Maftei on this video because of his range of experience—from hyperreal renderings of vital organs for the health care industry and architectural renderings of buildings-to-be to Spongebob Squarepants advertisements. Much of my thinking about the composition of Ode to Seekers 2012 is based on John Keats’s “Ode on a Grecian Urn,” wherein the titular art object is treated as eternal, intensifying the speaker’s sense of mortality. In keeping with the structure of an ode, my work consists of three movements. In the first—to the sound of an exploratory house track by Marcellis—the broken camera roves through the abandoned children’s ward corridors of Rockland. Second, highly saturated computer-generated 3-D models of the mosquito, syringe, and oil derrick appear under magic-hour lighting, slipping in and out of an ecstatic trance of liquid extraction—or injection—from a surface that looks at once like desert salt flats, skin under a microscope, and potato casserole. In sequences that are edited like a music video, these objects joyously thrust, pierce, and pump to my remix of Icona Pop’s 2012 banger “I Love It.” Third, each model and its pumping functions are co-opted by an assembly line apparatus, at once medical and industrial, that sucks the color out of everything that comes down a pipe.

Making this piece has been a process of grasping for a fantasy that I see when I’m jogging in a new city or under some kinds of influences. I can’t describe what the fantasy is, and I will probably never reach it. The similarities between my behavior and that of these three forces suggest a sense of camaraderie, but they also provoke a fear that, like those objects, I may just be a puppet of algorithms or economic networks or genetic coding. Still, I work my way through a neural reward system in pursuit of something fleeting, or perhaps even unattainable.

— As told to Paige K. Bradley in Artforum, 500 words 8.30.2016

Erin Jane Nelson

Erin Jane Nelson is an artist living in Atlanta, Georgia. She studied at The Cooper Union School of Art in New York and The Malmö Art Academy in Sweden. Recently, her work has been shown at Hester (NYC), Ellis King (Dublin), Favorite Goods (Los Angeles), Interstate Gallery (Brooklyn), Peregrine Program (Chicago), and Important Projects (Oakland). Her published projects include Lollie, Penny, Poems (Publication Studio Oakland, 2014), and Broon (Gottlund Verlag, 2012).

Catscanned Pussyfly, Archival pigment print, 20 x 16 in, Edition of 10, 2015

Stop Pollution, Eat Garbage, Inkjet on cotton, plastic, embroidered patch, grommets, Sudafed, cotton batting, and silk ribbon, 50 x 29 in, 2015

Monk Behind Bars, Inkjet on cotton, cotton, embroidered patches, wool batting, silk ribbon, garden lining fabric, grommets, 70 x 60 in, 2015

Neighbors, Dye sublimation print on aluminum, wool flocking, embroidered patch cobalt stand-offs, 10 x 8 in, 2015

Oakland Tech High, Dye sublimation print on aluminum, wool flocking, embroidered patches, 10 x 8 in, 2015

Untitled (Fabric Store Window), Dye sublimation print on aluminum, wool flocking, cobalt stand-offs, 10 x 8 in, 2015

555 Mission Smoker, Dye sublimation print on aluminum, wool flocking, embroidered patches, cobalt standoffs, 20 x 16 in, 2015

6th Street Potter’s Studio, Dye sublimation print on aluminum, wool flocking, cobalt stand-offs, embroidered patches, 20 x 16 in, 2015

40th and Telegraph, Dye sublimation print on aluminum, wool flocking, cobalt stand-offs, 14 x 11 in, 2015

Snow Park Meditator, Dye sublimation print on aluminum, wool flocking, cobalt stand-offs, 20 x 16 in, 2015

Poto ElleBelle, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto Weedcurtain, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto Lovevol, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto John at the Beach, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Poto Glosh, Silver Gelatin Print in Artist Frame, 20 x 16 in, 2014

Elizabeth Atterbury, Harry Henri Sal, 2014

Elizabeth Atterbury, Slow Song, 2014

Paul Mpagi Sepuya, Micah, Chicago, March 27, 2014

Paul Mpagi Sepuya, Desktop, April 2, 2014

Paul Mpagi Sepuya, Lamont, March 13, 2014

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998

Geraldo de Barros, Untitled (from Sobras Series), 1996-1998

Geraldo de Barros, Untitled (from Sobras Series), 1996-199

Elizabeth Atterbury, Sunny Side, FL (Paper Cut - Hedge), 2016

Elizabeth Atterbury, Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016

Elizabeth Atterbury, Sunny Side, FL (Big House), 2016

Elizabeth Atterbury, Blue Runner Night, 2014

Laura Letinsky John Paul Morabito, postnatureflowermarket (trainingUnslktaid), 2016

Greg Stimac, Canyon, 2015

Greg Stimac, Island, 2015

SLCH2-About

845 w Washington
3rd Floor
Chicago, IL 60607
262-719-3500

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
General Inquiries
info@documentspace.com

Gallery viewing hours:
Wednesday, Thursday, Friday, Saturday 11-6pm

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DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 30 solo exhibitions since its opening in 2011 and actively promotes the work of emerging national and international artists. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. At this time we do not accept unsolicited submissions.