X

Reception: Friday, January 10, 5-8pm

DOCUMENT is pleased to present Bundle Umbra, Christopher Meerdo’s third exhibition at the gallery. Drawing from hacker and whistleblower file caches sourced on the dark web, the exhibition considers what is seen and remains invisible within international information systems.

Routed through 3D displacement mapping, segments of the archives take the form of thermoformed and perforated plastic collage works. Each function as a light emission panel through the artist’s use of custom electronics and electroluminescent paint.  

The work draws from secondary and idiosyncratic symbols, handwritten notes, tables, and graphics located within the archives. The source material emerges from various activities from the past 30 years. This includes documents from Chinese secret prisons, Fraternal Order of Police confidential contracts, papers seized from the US embassy takeover in Tehran in the late 1970’s, and recently revealed banking disclosures from the Cayman Islands, among others.  

Louis Cane

In 1969 Louis Cane’s first gallery exhibition (Givaudan, Paris) consisted of a group of unstretched canvases– sheets in fact, marked only by continuous rubber stamping of his name. He concluded this exercise in personal branding with the insolently tautological series Louis Cane artiste peintre français.
By 1970 Cane was done with youthful irony, inaugurating a genre of cut-out paintings, the toiles découpées, which he would exploit for several years. Like Jackson Pollock or Helen Frankenthaler, Louis Cane painted on unstretched canvas on the ground. But Cane digested the mentor of these artists, Clement Greenberg, as fast as the avant-garde critic appeared in Peinture: cahiers théoriques, the cutting-edge magazine published by Cane and his radical associates.

Cane’s incision in the canvas produces flaps which open a space on the wall. This space is not part of the painting yet remains integral to the picture. Thus, his paintings, which interact with both the floor plane and the wall, investigate the space of non-representation (what is cut out) and integrate it within the painting.
Last century, one saw these paintings as the formalist realization of a praxis. Today we are more tempted to admire the economy of means and the visual polyvalence. Back then, Louis Cane questioned pictorial space by considering Chinese painting. To liberate himself from the conventions of Renaissance perspective without renouncing pictorial space it was necessary to start with discourse. Today only the painting endures, and with it the work’s persisting pertinence.

Toile découpée, 1970 Huile sur toile metissée Oil on canvas 197 x 250 cm 77.6 x 98.4 in

Peinture vraiment Résine sur grillage Resin on stainless steel mesh 145 x 145 cm 57.1 x 57.1 in abstraite, 2017

Chapter NY is pleased to announce שכינה (Shekinah), Erin Jane Nelson’s first solo exhibition at the gallery. The exhibition will present her most recent series of fabric-wrapped panel works and ceramic vessels.

Nelson’s practice is grounded in photography sourced from her personal archive of found and original images. She works serially, with each project delving into new conceptual frameworks as far ranging as the cultural anxiety around climate change, the sentience of octopuses, and the science fiction of our present moment. Her photographic elements merge onto unexpected support structures, their multiple references engaging the nuanced anxiety, conflict, and humor of the present and immediate future.

For this exhibition, Nelson embraces her Southern Jewish heritage as subject matter. The title of the exhibition, Shekinah, a word from rabbinical literature that means the feminine attributes of God, a sense of place in the world, a dwelling, has been Nelson’s framework for spiritual seeking. Based on research and photographs made while studying Judaism over the last year, she incorporates Jewish symbolism and archival photographs into this new work alongside her ongoing photographic practice documenting the environmental collapse of her home region.

Along with ceramics, found textiles and collaged photographs typical of earlier bodies of work, Nelson uses natural dying techniques that impregnate her works with the colors and ghosts of plants and insects. Her seeping and decaying forms, mixed with personally relevant subject matter, are inspired by poet Joyelle McSweeney’s concept of the necropastoral, a political-aesthetic space in which human depredations converge with nature’s decay. Coupled with an idealism of religion’s ability to heal and give guidance for mourning, Nelson leaves room for moments of respite and purpose within a fraught world.

Raised in the American South, Erin Jane Nelson lives and works in Atlanta, GA. In 2011 she received her BFA from The Cooper Union. Recent solo exhibitions include: Her Deepness, Atlanta Contemporary Art Center, Atlanta, GA; Psychopompopolis, Document Gallery, Chicago; and Dylan, Hester, New York. Her work has been featured in group exhibitions at La Galerie, centre d’art contemporain, Noisy-le-Sec, France; Deli Gallery, Brooklyn; Van Doren Waxter, New York; Capital Gallery, San Francisco; Pinakothek der Moderne, Munich; and the Whitney Museum of American Art, New York. Her work is currently included in Making Knowing: Craft in Art, 1950-2019 at the Whitney, which has recently acquired the artist’s work. Nelson will also be featured in an upcoming exhibition at the Fries Museum in Leeuwarden, the Netherlands.

EJN S Well 1 (2) website

Well 1, 2019
Found figurines, photographs, and resin on glazed stoneware
15 × 13 × 13 inches (38.10 × 33.02 × 33.02 cm)

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
Gallery and Print Studio Associate
Cody Schlabaugh
info@documentspace.com

Gallery hours:
Tuesday-Saturday: 11am-6pm

Private Works Login
DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 50 solo exhibitions since its opening in 2012 and actively promotes the work of emerging national and international artists.Since 2016, DOCUMENT started exhibiting historical artists and has continued to anchor its program in a conversation between emerging voices and established figures. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. The production studio allows some of the gallery artists to collaborate with DOCUMENT in both their exhibitions and their daily artistic practice by being in constant conversation about the realization and processes in their work.
At this time we do not accept unsolicited submissions.