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DOCUMENT is pleased to present The LaughterSara Greenberger Rafferty’s second solo exhibition at the gallery. The exhibition will open on November 2nd with a reception from 5pm to 8pm, and will continue through December 23, 2018.

Julien Creuzet

Born in 1986, Julien Creuzet is a French-Caribbean artist who lives and works in Paris. A visual artist and poet, he actively intertwines these two practices via amalgams of sculpture, installation and textual intervention that frequently address his own diasporic experience. Inspired by the poetic and philosophical reflections of Aimé Césaire and Édouard Glissant on creolization and migration, Creuzet’s work focuses on the troubled intersection of the history of Martinique and the events of European modernity. Creuzet has recently had solo exhibitions at the Fonds Régional d’Art Contemporain Basse Normandie in Caen (2015), the Juvisy-sur-Orge Contemporary Art Centre, Galerie Doyang Lee in Paris (2013), and the Sandretto Re Rebaudengo Foundation in Turin (2012). Recently, he participated in Festival Hors Piste at the Centre Pompidou (2017) and, in 2016, the 12ème Biennale de l’Art Contemporain Africain de Dakar, Sénégal, the second Kampala Art Biennale, Uganda, and the 30th International Artists Studio Program Exhibition at Fonds Régionaux d’Art Contemporain Pays de la Loire. He is currently participating in the 14th Lyon Biennial, and will have a solo show at Sketch Gallery in Bogotá in November 2017.

Julien Creuzet, Emotion, hurricane, you are so different emotion that attracts me, I saw your soul in full storm, 2018, Fabrics, cable, plastic, glass, metal 27 9/16h x 90 1/2w x 15 3/4d in

Julien Creuzet, Weaving, we caressed ourselves too much twisted in our telepathies, entangled, 2018, Fabrics, cable, plastic, metal, water 74 13/16h x 90 1/2w x 3 7/8d in

Julien Creuzet, Compass, heart, cloudy, fern Moist, heat, beat, wind, kisses, 2018, Engraving on laminated plywood, 76 3/4h x 76 3/4w in

Julien Creuzet, Swirl, oil skin, coil, eco, 2018, Engraving on laminated plywood, 19 11/16h x 19 11/16w in

Julien Creuzet, Twirl, tongue, whirl, ego, 2018 Engraving on laminated plywood, 19 11/16h x 19 11/16w in

gasoline, fires of god wandering, line of Peru, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

Jungle, jungle, big city, Drunkenness, my father’s rum, Drift, atlantic, Here I depress, I depict (...), 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

subside, be silent, scum, I drown, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

To hide, in a lost hole, In the black south. I’m not from here, But I was there, near you, close to you. I caress each tree, Roots, my earthly wanderings. Roots, tuber, Touching my brothers, in the ground, Tears, morning dew, Tears, brandy (...), 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

upset, gloomy, wonderful, sunset of moon, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

dismal, life file, crystal, get lost at a glance, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

Each window, Mirror of abandonment. Depression, Green plant, Liana, stem, vertigo, Antigua, me iguana (...), 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

I cried to change Skin reversed, Rumpled, I vomited, Purplish petals I have the green blues, Wild plant, Plant wise image of nightmare. It is the calm storm, A bubbling before yelling, 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

peel, year, nothing else, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

crying like a baby city, plastic idea, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

Me algae of the depths, Scum of the lake, Venom saliva, I depict, Click, glass shards Dream acidulated, Crossed geography (...), 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

tangy crisis, help me, orange memory, 2017 Archival pigment print face mounted to acrylic with custom engraving, 46 1/2h x 32 3/4w in

Smoked of hope, Tea from elsewhere, I have ruminated, bad grass (...), 2017 Rubbing on paper, 14 3/4h x 11 1/2w in

Sara Greenberger Rafferty

ARTFORUM CRITIC’S PICK

Sara Greenberger Rafferty, Untitled (detail), 2018,ink-jet-printed vinyl, grommets, 10 x 35′.

Dramatically unfurling down the entryway of this gallery, a thirty-five-foot-long, untitled ink-jet-on-vinyl piece (all works 2018) hangs from grommets, on which Sara Greenberger Rafferty seems to have dumped the contents of her Google Drive. Dotted with rectangular icons ordered roughly by color, the work reveals Rafferty’s preoccupations with various kinds of staging. In it are a number of selfies the artist took in a Dior shirt that pays homage to art historian Linda Nochlin—emblazoned across it is “Why Have There Been No Great Women Artists,” the title of Nochlin’s famous 1971 essay—alongside images of film stills, makeup swatches, Color-Aid tests, and comediennes such as Kathy Griffin.

“Testing” is the title and overarching concept for Rafferty’s solo show. Using kiln-formed glass for the first time, Rafferty prints predigital archival material that touches on female stardom, school exams, and photographic processing. A native of Chicago, Rafferty’s affinity for comedy has evolved over the years from slapstick sculptures to analyses of performance gestures. It is tempting to compare Rafferty’s “Testing” works to the early flatbed-scan “joke” works of Lucie Stahl, which included the German artist’s handwritten notes. But even with intrusions of the personal, Rafferty’s concerns remain structural.

Pieces such as Exterior (University of Michigan Extension) feature direct exposures of images onto ballistic and bulletproof plastic—the works’ substrates allude to gritty urban storefronts. Rafferty’s text-heavy works, however, pack a bigger conceptual punch. In The Law, she reproduces a page detailing Abbie Hoffman’s trial. In it, the notorious Yippie argues that his wearing of the American flag should be legal, like the garments of comic Phyllis Diller. Her Taxes appropriates an excerpt from a Vanity Fair article, published before the 2016 election, about Donald Trump’s undisclosed tax returns. Rafferty zeroes in on an anecdote about a women’s-lib era celebrity legal skirmish: that of comedienne Carol Burnett, who successfully fought the IRS to write off her evening gowns as business expenses in the 1960s.

 

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Assistant
Renata Cruz Lara Guerra
info@documentspace.com

Gallery hours:
Tuesday-Saturday: 11am-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 40 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.