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Natural selection comes from misidentified mockingbirds. On a string of Galápagos Islands Charles Darwin collected data on slight variations amongst a species of finches (that were actually mockingbirds), the results of which later became the basis for his theory of natural selection. The tidy humanist idea that she–nature–molds and reforms our bodies per the specifics of her landscape. She reaches down our throats and engineers the mysterious fact of song of speech of sound-making. She tunes the bird’s call and the human’s hum. In Mary Helena Clark’s Ligature, the chorus of disembodied sounds, the phantom of the finch, proposes a world heard haptically, a touching of a song, an illumination of the inner chambers of the larynx. As “ligature” may connote medical binding, textual twinning, or musical harmonizing, Clark proposes a multiplicity of connotative possibilities so that each may commingle in the atmosphere of the gallery.

Inherited traits of the female avant-garde sound and filmmakers of the twentieth century percolate in the Clark’s work. In this artist-cum-species lineage we find another story of creation: Alien Resurrection (1997), an alien-human hybrid is born. In the movie, avant-garde sound artist Joan La Barbara gave voice to Newborn, the alien sapien. Known for her 1970’s experimentations with the limits of long vocalizations, polyphonics, trills and whispers, La Barbara’s extended vocal technique operates on the crack of the voice, voice as evidence of a constellation of bodily mechanisms. How strange that this artist’s articulation of the vocal edges of the human form would be selected to animate alien otherness. La Barbara’s animation of the medical miracle of an alien/human body creates a circuit of woman/sound/apparatus/embodiment/alien/film/mimesis that provides a useful halo over Clark’s project.

Follow the ligatures of the exhibition: touching is tied to hearing, shell is tied to ear, laser is tied to throat, bird is tied to invisibility, projected images are bound to each other in multichannel call-and-responses. Clark uses contact microphones to record and amplify sound by pressing the mechanical ear into the places on the body that seem to produce it; a device kin to the stethoscope, producing recordings of the tongue, throat, and mouth. Bird songs throughout the exhibition announce an invisible presence – a sound we all know and understand though rarely see its source or witness the act of its making. Projections appear on tilted screens, bent and confronting you from below. Each of these elements build Clark’s ethereal, tactile project that calls into question the very fact of seeing and hearing and the forces that make those sensations reproducible to an artist. The viewer is rendered alien in Ligature’s speculative world.

— Erin Jane Nelson

 

Elizabeth Atterbury

Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include Kate Werble Gallery, The Portland Museum of Art, Mrs, The Colby College Museum of Art, Waterville, kijidome, Boston, Document, Chicago, TSA, Brooklyn, Bodega, Philadelphia/New York, KANSAS, New York, and The ICA at Maine College of Art, Portland, among others. In the Middle, An Oasis, a monograph of her work, was published by Bodega Press in 2013.

She received her BA from Hampshire College and her MFA from MassArt.

The Well, The Wall, 2016 Silver gelatin print 20 x 24 in

The Well, The Wall II, 2016 Silver gelatin print 20 x 24 in

Beach Woks (Marks of a Tool II), 2016 Silver gelatin print 20 x 24 in

Still Life with Popcorn and Pits, 2016 Silver gelatin print 11 x 14 in

Logogram III, 2016 Silver gelatin print 20 x 24 in

Logogram II, 2016 Silver gelatin print 20 x 24 in

Logogram I, 2016 Silver gelatin print 20 x 24 in

Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in

Sunny Side, FL (The Cut), 2016 Enamel paint, steel 13 1/2 x 28 1/2 x 1 1/4 in

Sunny Side, FL (Sunset Hedge), 2016 Enamel paint, steel 1 1/2 x 16 x 2 1/2 in

Sunny Side, FL (Small House), 2016 Enamel paint, steel 1 x 16 3/4 x 14 1/2 in

Sunny Side, FL (Bull Shark), 2016 Enamel paint, steel 2 1/2 x 18 x 1 1/2 in

Sunny Side, FL (Paper Cut / Hedge), 2016 Enamel paint, steel 10 x 9 x 1 3/4 in

Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016 Enamel paint, steel 11 x 9 1/2 x 9 1/2 in

Sunny Side, FL (Lawn), 2016 Enamel paint, steel 9 x 9 in

Sunny Side, FL (Big House), 2016 Enamel paint, steel 16 x 18 x 6 in

Sunny Side, FL (Palms), 2015 Enamel paint, steel 17 1/2 x 11 x 16 in

Relief (China White), 2015 Plywood and paint 33 x 48 x 1 3/4 in

Moonlight on the river, 2014, chromogenic print 14 x 11 in

Slow Song, 2014, chromogenic print 14 x 11 in

Marks of a tool, 2014, silver gelatin print 11 x 14 in

Rake, 2014, Silver gelatin print 24h x 20w in

Ghost Tracks, 2014, Silver gelatin print 24h x 20w in

Black Beach, 2014, silver gelatin print 14 x 11 in.

Bones, 2014 Silver gelatin print 11 x 14 in

Glyphs II, 2014 Silver gelatin print 11 x 14 in

Glyphs, 2014 Silver gelatin print 11 x 14 in

Site, 2014 Silver gelatin print 11 x 14 in

Sculpture Park, 2014 Silver gelatin print 11 x 14 in

Bricks, 2013, chromogenic print 14 x 11 in

Harry, Henri, Sal, 2013, chromogenic print 14 x 11 in

Blue runner, 2013, chromogenic print 14 x 11 in

MAÑANA VAPOR

Julien Creuzet

SKETCH GALLERY

On view: November 23rd, 2017 – February 15th, 2018


French Caribbean artist Julien Creuzet presents Mañana Vapor, his first solo show in Colombia at SKETCH.  He composes an intuitive and fertile encounter, composed by poems, installations and visual and sound assemblages. Fragments of poems and photographs are superimposed and printed on to polished surfaces, feverishly wanting to escape from the video that contains them and whisper magic stories into your ears. From his collages he creates powerful visual narratives, erasing the borders between documentary, fantasy and reality; a reverse that lets us go beyond the thinkable, between the occult and the visible. Through his hybrid works Julien Creuzet recovers objects and myths that history has, to date, left aside to make its own agenda prevail. Then and only then Julien Creuzet stories reveal themselves as possible: they shine in silence waiting for our hands to embrace them.

Julien Creuzet lives and works in Paris. He has participated in numerous solo shows including DOCUMENT, Chicago (2017),Galerie Doyang Lee, Paris (2016), National Superior School of Art and Design, Nancy, France (2016), Contemporary Art Regional Funds, Normandy, France (2015), Juvisy-sur-Orge Contemporary Art Centre, France (2013) and Sandretto Re Rebaudengo Foundation in Turin, Italy  (2012). His upcoming shows for 2018 are Ricard Foundation and Bétonsalon Art Centre, Paris.

He participated recently at The Lyon Biennial and Hors Piste Festival at  the  Pompidou Center, Paris (2017), No. XII  Contemporary Art Biennial, Dakar, Senegal (2016), II Kampala Art Biennial, Uganda (2016 and the 30th International Artists Studio Program Exhibition at the Regional Fonds of Contemporary Art of Pays de la Loire, France (2016) amongst others.

 

Click here for the press release.

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