Reception: Friday, April 13th from 5-8pm

DOCUMENT is pleased to present Dark Room, Paul Mpagi Sepuya’s 2nd solo exhibition at the gallery. The exhibition will open on Friday, April 13th with a reception from 5pm-8pm and will continue through May 26th.

Paul Mpagi Sepuya’s work is part of a common plea for a sincere regard of feeling and sensuality as tools for photographic inquiry. Touch and distance are formulated as requisite foundations for articulating, linking and retooling elided knowledge structures. Working within the lineage of homoerotic photography, Sepuya crafts unique frameworks for understanding how bodies and subjectivities emerge as actionable properties of entanglements, which result from a cohabitation of haptic visuality and spatial arrangements. What we are presented with are libidinally-charged ecosystems that unfold affects and positions, extending our relationship to the world, and touched bodies, across time and space. (…) – Mark Pieterson

 

 

 

Gordon Hall

Gordon Hall is an artist based in New York. Hall’s sculptures and performances have been exhibited at SculptureCenter, The Renaissance Society, Brooklyn Museum, Museum of Contemporary Art Chicago, Whitney Museum of American Art, Movement Research, EMPAC, Art in General, Temple Contemporary, Foxy Production, Hessel Museum at Bard College, White Columns, Wysing Arts Centre, Abrons Arts Center, Socrates Sculpture Park, The Drawing Center, and Chapter NY, among others. Hall’s first institutional solo show, The Number of Inches Between Them, took place at the MIT List Center for Visual Arts in 2018, for which a catalog by the same title was released at Printed Matter, New York. Hall’s second institutional solo exhibition, THROUGH AND THROUGH AND THROUGH, opened in June of 2019 at Portland Institute for Contemporary Art, who also published OVER-BELIEFS, Collected Writing 2011-2018, an edited book of Hall’s collected essays, performance scripts, and interviews. Gordon Hall has organized lecture and performance programs at MoMA PS1, Recess, Interstate Projects, The Shandaken Project at Storm King Art Center, and at the Whitney Museum of American Art, producing a series of lectures and seminars in conjunction with the 2014 Whitney Biennial. Hall’s writings and interviews have been featured in a variety of publications including Artforum, Art in America, V Magazine, Randy, Bomb, Title Magazine, Walker Art Center’s Artist Op-Ed Series, What About Power? Inquiries Into Contemporary Sculpture (published by SculptureCenter, 2015), Documents of Contemporary Art: Queer(published by Whitechapel and MIT Press, 2016), and Theorizing Visual Studies (Routledge, 2012). Hall was awarded a LMCC Process Space Residency, a Triangle Arts Foundation Residency, the LMCC Workspace Residency, an Edward F. Albee Foundation residency, and attended the Skowhegan School of Painting and Sculpture, ACRE, and the Fire Island Artist Residency. In 2018 Hall was awarded a Production and Presentation Grant from the Graham Foundation for Advanced Studies in the Fine Arts to support List Projects: Gordon Hall at the MIT List Center for Visual Arts. Hall holds an MFA and an MA in Visual and Critical Studies from the School of the Art Institute of Chicago and a BA from Hampshire College. Hall is a 2019-2020 Provost Teaching Fellow in the Department of Sculpture at Rhode Island School of Design.

Brothers and Sisters, 2018 Cast pigmented concrete, hand-dyed cotton, wood, hand-glazed tile mosaic, colored pencil, brick, and mortar Dimensions variable with installation

Brothers and Sisters, 2018 Cast pigmented concrete, hand-dyed cotton, wood, hand-glazed tile mosaic, colored pencil, brick, and mortar Dimensions variable with installation

Brothers and Sisters, 2018 Cast pigmented concrete, hand-dyed cotton, wood, hand-glazed tile mosaic, colored pencil, brick, and mortar Dimensions variable with installation

Brothers and Sisters, 2018 Cast pigmented concrete, hand-dyed cotton, wood, hand-glazed tile mosaic, colored pencil, brick, and mortar Dimensions variable with installation

Brothers and Sisters (II), 2018, Cast pigmented concrete 16 3/4 x 7 x 17 1/2 inches (42.5 x 17.8 x 44.5 cm)

Brothers and Sisters (I), 2018 Cast pigmented concrete and wood 11 1/8 x 14 x 11 1/2 inches (28.3 x 35.6 x 29.2 cm)

Brothers and Sisters (I), 2018 Kneeling (Brick Object)(II), 2018 Brick and mortar 10 1/4 x 11 1/2 x 16 1/2 inches (26 x 29.2 x 41.9 cm)

Brothers and Sisters (I), 2018 Fold (II), 2018 Hand-dyed cotton 2 1/8 x 104 x 28 3/4 inches (5.4 x 264.2 x 73 cm)

AND PER SAY AND Wood, joint compound, wood filler, cast cement, color pencil, acrylic and latex paint, denim, hand dyed cotton, modeling clay, tile mosaic. Performance with projected video and sound 58 min. 13’ x 23’ x 36’. 2016.

THROUGH AND THROUGH AND THROUGH, 2019, Performance at The Portland Institute of Contemporary Art

THROUGH AND THROUGH AND THROUGH, 2019, Performance at the Portland Institute of Contemporary Art

Closed Box with Painted Top, 2019 Cast Concrete, poplar, latex paint, From performance THROUGH AND THROUGH AND THROUGH

OVER-BELIFES, 2019 Cast concrete, From performance THROUGH AND THROUGH AND THROUGH From THROUGH AND THROUGH AND THROUGH, 2019 a performance at the Portland Institute for Contemporary Art. Photo by Evan Lalonde.

Afterimage, Vol. 46, Number 2

Exhibition Review: Andrew Norman Wilson: Kodak

Andrew Norman Wilson: Kodak. Document. Chicago, Illinois: January 11–February 23, 2019| By Liz Park

Image 1. Still from Kodak (2018) by Andrew Norman Wilson; © 2018 Andrew Norman Wilson; courtesy the artist and DOCUMENT.

 

Andrew Norman Wilson’s thirty-two-minute video Kodak (2018) was the beating heart of his eponymous exhibition at DOCUMENT in Chicago. A series of prints that take inspiration from various Kodak products hung in an adjacent gallery while a stack of giveaway posters—of the company’s first digital camera from 1973 printed on recto and a text by Nick Irvin on verso—prepared those who entered a dark, curtained gallery. Irvin’s text introduced the video’s protagonist Rich as a mentally unstable former Kodak employee who became blind as a result of a workplace accident. These details emerge slowly, however, and in short bursts, like flickers of images that stitch together the stories of the character Rich and Kodak’s legendary founder George Eastman [Image 1].

“Your time is up,” alerts the high-pitched and tinny voice of a woman, beginning a narrative that is driven primarily by sound rather than images. A long minute passes with only darkness to accompany her increasingly aggravated chastising, dramatically peaking with “You have to stop now!” The first discernable image finally surfaces—a portrait of a bespectacled Eastman. A shaky voice that stands in for Eastman implores, “What is a photograph?” He answers himself: “. . . a dream, a reminder of how little you can actually capture.” Responsible for popularizing photography through consumer-grade technology, Eastman, as recorded in history and presented in this well-researched video, successfully tapped into the consumer’s desire to hold onto the fleeting moments of their mortal lives. Spiked with nostalgia, Eastman’s steady ruminations on life, photographic processes, and his business empire provide […]

Read the complete article here.

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