Reception: Friday July 24th > 5-8 Pm

RE|PRODUCTION is part of a series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the (in-house) production of a new work at Document.

Document presents new context-specific works from Alice Konitz, Lasse Schmidt Hansen, and Sterling Lawrence; three artists who each reproduce objects, either through de-contextualization or re-presenting forms of architectural displacement. This exhibition conceptually links to an earlier exhibition of Marcus Geiger & Margaret Welsh, which was presented at Document earlier this year. The series will come together next for the September exhibition with Sean Snyder’s “Re-Convergence (Algorithmic Archaeology),” which will be his first US solo exhibition since his Artists Space exhibition in 2011.

Alice Konitz sculptural works border on the edge of existing as architecture either as small models or sculptures. Conceived initially as small models or sketches, they sometimes reappear in her work as life size sculptural objects with names like Taco Stand, etc. Often the materials she chooses (Cardboard, mirrored foils) often force the viewer to rethink the (architectural) object; as these materials are often metaphorical stand-ins for other materials. For example “Untitled” (2015) which has been reproduced at Document, started out as a small model based on the memory of a table at a Swedish rest-stop. This sculpture, which functions as part table, part trashcan, was based on architectural drawings that were created to produce the object life-size. Through these gaps in memory and technical reproduction this object becomes a unique sculptural object through minor adjustments in size, material, and general placement within the gallery space.

Lasse Schmidt Hansen presents a grouping of black molleton fabrics entitled “Dismantled” (2014 – Present). These fabrics were originally used in theatres, photo studios, or galleries and their general purpose serves to block out light sources in galleries or black boxes. Generally these objects are part of the (gallery) inventory and are often kept for re- use. These remnants contain indexical traces of the original architectural spaces from which they were used, along with nail holes, plaster, and staples. By re-presenting these spatial fragments the original space becomes partially reassembled within Document.

Sterling Lawrence’s Rack 03 is a sculpture that references a sensibility of use, which is intentionally left unclear as to what specificity this use was intended for. Studies for the form started with investigations into the skeletal supports of magazine racks. In the process of making the work, size sifted from a traditional floor magazine rack found next to a reading chair to something different. Lawrence shortened the legs, and exaggerated the length of the piece to the length of his own body. In doing so, the form began to resemble a cot in scale, however the elastic bands kept to the interior form of that found in initial studies of magazine racks. The work itself is a model for a study of translation; it becomes something new and in turn revealing a state of confusion, which questions both platforms and circumstances.


Artists Bios:

Alice Konitz (Born in Germany, lives in Los Angeles). Since 2012, Konitz runs LAMOA Space and in 2014 she became the winner of the Mohn Award at the UCLA Hammer Museum (Los Angeles) through her participation in the “Made in L.A.” Exhibition. She also participated in the 2008 Whitney Biennale. Solo Exhibitions include: Galerie naechst St. Stephan in Vienna (upcoming), LAXART (Los Angeles), Susanne Vielmetter (Los Angeles and Berlin), Hudson Franklin (NY), and LACE (Los Angeles).

Lasse Schmidt Hansen (Born in Denmark, lives in Copenhagen and Berlin). Recent solo exhibitions include Christian Andersen (Copenhagen), Galerie Hussenot (Paris), and Galerie Reinhard Hauff (Stuttgart).

Sterling Lawrence (Born in the United States of America, Lives in Chicago) has had solo exhibitions with Devening Projects + Editions, Chicago; and Tony Wight Gallery, Chicago. Lawrence has been included in group exhibitions at Scotty Enterprises, Berlin; Soloway, NY; Columbia College, Chicago; Devening Projects + Editions, Chicago; and New Capital via Forever and Always, Chicago.

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, New York; The Portland Museum of Art, Portland; Mrs., Queens; The Colby College Museum of Art, Waterville; kijidome, Boston; Document, Chicago; Western Exhibitions, Chicago; The Luminary, St Louis; Et al. Etc., San Francisco; Pulaski Park Field House, Chicago; Able Baker Contemporary, Portland; Ida Schmid, Brooklyn; 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.

Atterbury’s studio practice is fluid, fluctuating between picture making and object making. Fascinated with the autonomy of the artifact – objects disassociated from their original function and context – Atterbury’s practice considers the distinction or lack thereof between artifact, prop, model and sculpture.  Drawn to materials such as paper and sand, Atterbury constructs ephemeral tableaux specifically for the purpose of transfiguring and recording them. Both her photographs and sculpture build upon a continued interest in display and its visual structures, along with a more recent interest in language, ritual, and abstraction.

Elizabeth Atterbury, 26 Waves, 2018, Mortar, plywood and glue, 22 3/4 x 19 x 1 in

Elizabeth Atterbury, Alone at night, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Still life with bowl and mirror, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Anonymous Old Poem, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Another Poem, 2018, Mortar, plywood and glue, 23 x 19 x 1 in

Elizabeth Atterbury, Calligraphy Frame, 2018, Maple, acrylic paint, glue, 60 x 40 x 1 in

Elizabeth Atterbury, The Well, Again (Pool), 2017, Beach sand, glue, MDF, 10 1/2 x 8 x 6 1/4 in

Elizabeth Atterbury, The Well, The Wall, 2016, Silver gelatin print, 20 x 24 in, Edition of 3

Elizabeth Atterbury, Beach Woks (Marks of a Tool II), 2016, Silver gelatin print, 20 x 24 in, Edition of 3

Elizabeth Atterbury, Still Life with Popcorn and Pits, 2016, Silver gelatin print, 11 x 14 in, Edition of 3

Elizabeth Atterbury, Logogram III, 2016, Silver gelatin print, 20 x 24 in

Elizabeth Atterbury, Logogram II, 2016, Silver gelatin print, 20 x 24 in

Elizabeth Atterbury, Logogram I, 2016, Silver gelatin print, 20 x 24 in

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

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

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

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

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

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

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

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

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

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

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

Elizabeth Atterbury, Moonlight on the river, 2014, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Slow Song, 2014, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Marks of a tool, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Rake, 2014, Silver gelatin print, 24 x 20 in

Elizabeth Atterbury, Ghost Tracks, 2014, Silver gelatin print, 24 x 20 in

Elizabeth Atterbury, Black Beach, 2014, Silver gelatin print, 13 1/2 x 11 1/2 in, Edition of 3

Elizabeth Atterbury, Bones, 2014, Silver gelatin print, 11 x 14 in, Edition of 3

Elizabeth Atterburym Glyphs II, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Glyphs, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Site, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Sculpture Park, 2014, Silver gelatin print, 11 x 14 in

Elizabeth Atterbury, Bricks, 2013 Chromogenic print, 13 1/2 x 11 1/2 in

Elizabeth Atterbury, Harry, Henri, Sal, 2013, Chromogenic print, 14 x 11 in

Elizabeth Atterbury, Blue Runner Night, 2014, Chromogenic print, 13 1/2 x 11 1/2 in, Editon of 3


Producing the Social: Andrew Norman Wilson Interviewed by Jared Quinton

 February 21st, 2019
Andrew Norman Wilson1


Infinite loop videos.

Andrew Norman Wilson, The Unthinkable Bygone, 2016. Video still. Courtesy of the artist and DOCUMENT, Chicago.

Andrew Norman Wilson might be best known for his 2011 multi-channel video Workers Leaving the Googleplex, a firsthand account-cum-Marxist exposé of the human labor behind the Google Book Project. In this and other earlier projects, Wilson gained access to corporations’ internal apparatuses and performed interventions that made their insidious organizing politics slightly more tangible. His more recent videos feature a cast of nonhuman proxies—a mosquito, a dinosaur baby, a scarecrow puppet, an oil pump—trapped in endlessly enthralling and alienating loops. On the occasion of Wilson’s third solo exhibition at DOCUMENT in Chicago, where he’s looking back to the labor history of Kodak Corporation, we spoke about his aesthetic strategies and how they work with and against the politics of art history, the art world, and the world at large.

—Jared Quinton

Jared Quinton I notice a certain dialectic in your work. On one hand you’re specific about corporate structures and other systems of organizing labor and production; you name them, you critique them, you adopt their technologies. On the other hand you’re invested in ambiguous narrative forms that seem to ask for affective responses. I appreciate that setting this up as a binary might be a bit of a straw man, but can you talk about these different modes?

Andrew Norman Wilson When I hear that question I see two hands. One hand holds old work (a red pill imprinted with the word “tool”) that is geared toward uncovering things that the phrase “the invisible hand of the market” is used to conceal, such as offshore labor and offshore financial activity. Within this hand the hands of the nameless worker, as well as the keystroking fingers of the anonymous account executive, are cast under the cold light of capitalist social realism in order to “identify and question the dominant economic, social, and political forces in our world today,” to quote many a press release. Opportunistic curators go bonkers for this kind of work as an affirmation of some nearly forgotten PDF they read during their MA. The hope was that the work was actually productive, in the sense that it didn’t necessarily represent social processes, so much as it participated actively in these processes, and even helped constitute them.

JQ And the other hand?

ANW The other hand has a blue pill embedded under the skin of its palm, but science tells me that, like blood, the blue pill is red as well. It’s just that blue is what makes it back to my eyes when passing through flesh.

Neither would get me closer to the truth, but this inaccessible red pill in the second hand implicitly acknowledges the illusory, deceptive qualities of not only art but also reality itself. I started to realize that there’s more to life—and art—than a critical framework based on human economic relations, or any framework. There are invisible handjobs of the market, magician’s hands, demon primate hands, and hands that make me uncertain as to whether they’re gesturing or signing to me.

So I’m not so much invested in narrative as I am in how we create and operate through incomplete mental models—both scientific and cultural—for understanding the world. These models can include narratives. But if the newer work feels baroque, perhaps it’s because illusion and sensory immersion here reduces the narrative conviction of familiar cause-effect structures, limiting them to pattern-making functions, or logics that unfold and repeat across time. The old structure of causation in which the past causes changes in the present becomes the baroque “cause” that lies in the future. This is why I’ve been making infinite loop videos; themes of predestination proliferate, but there’s no concluding truth.

Andrew Norman Wilson2

Andrew Norman WilsonWorkers Leaving Googleplex, 2011. Video still. Courtesy of the artist and DOCUMENT, Chicago.

JQ So perhaps it’s more a question of resolution. In the curator-friendly work we know exactly what’s being critiqued. This makes art viewers feel like they’ve done some good merely by becoming aware of a structural problem. But your recent video-installation work is more alienating. I think empathy is the enemy of good art, so I’m interested for you to talk a bit more about this and other strategies you’re using in videos like Ode to Seekers 12, Reality Models, or The Unthinkable Bygone (all 2016).

ANW With those works I found myself at the beginning of something that I’m still pursuing—something like making a knot for viewers, including myself. If the knot works as I hope it does, it creates disturbances in the seemingly natural order of things and unwinds our counterfeit intuitions, allowing for thought to become an infinite drift outside of our established habits and perspectives.

Using and breaking techniques we have been conditioned to respond to from cinema and television—the embodied flight of an off-balance Steadicam, a transcendent crane into a computer-generated character’s head, or the shifting perspectives of a multi-cam setup—creates opportunities for identification with nonhuman characters. These seemingly intelligent yet amoral characters—the baby dinosaur, the mosquito, the oil pump, the syringe, the puppets—are anthropomorphized enough to offer a bridge for a human viewer, but also formally disturbed enough to cultivate the alienation you speak of.

JQ Are there political motivations behind this process of aesthetic problem solving?

ANW I regularly worry about the devaluation of aesthetic problem solving, not just throughout general educational systems, but even within the art world, where a clickbait mentality seems to prevail that privileges consumables, virtue-signaling rhetorical stand-ins, and conceptual content designers instead of artists who take the time to process their material and how it might inhabit the world in ways that are unique to art. So in the form of very direct action, I’m contributing to a world that I want to live in.

While I wouldn’t reduce the decisions I make to simply being politically motivated, there are ways in which those works complicate a humanist legacy—primarily European and male in its origin—that understands the world as having been given for our needs and created in our image. The processes of identification I’ve set up are meant to offer revisionary vantage points from which that stagnant legacy reveals itself as contradictory, amounting to an ecologically murderous, even suicidal tendency.

Andrew Norman Wilson, Ode to Seekers, 2016. Video still. Courtesy of the artist and DOCUMENT, Chicago.

Andrew Norman Wilson, Ode to Seekers, 2016. Video still. Courtesy of the artist and DOCUMENT, Chicago.

JQ So if I’m understanding correctly, the “intelligent yet amoral” characters are something like posthumans. How does this relate to your more recent work, Kodak (2018), which seems like something of a return to your more explicit interest in human labor and the production of imaging technologies?

ANW Through its development of the world’s original nervous system, the jellyfish was the first creature to figure out that nerves are an obvious advantage. The ability to receive and process information meant that the jellyfish could actually react to changes in its environment in order to increase the odds of life going well, rather than just floating aimlessly and hoping for the best. A certain jellyfish—the Turritopsis dohrnii—is believed by some to hold a potential key to immortality. Instead of dying, the jellyfish transforms back into a polyp and begins life anew. The scientist Shin Kubota has made it his life’s work to unlock that potential.

This immortal jellyfish—both an ancestor from the deep past and a potential for a deep future—is scripted as the MacGuffin that a blind former Kodak employee pursues in the Kodak video. Like photographic film, the jellyfish’s body offers a gelatin medium for information storage. Whether or not that’s possible isn’t what’s at stake in the work; it’s the protagonist’s desire to preserve his consciousness and all of the memories it contains indefinitely on an analog medium. It seems that photographic film won’t be so lucky, and the protagonist knows this. Throughout his pursuit he’s haunted by memories based on photographic archives, but it is the 3D-animation sequences, which start to appear in the third act and are narrativized as schizophrenic delusions, that fully derail his efforts.

Andrew Norman Wilson, KODAK, 2018. Installation view at DOCUMENT, Chicago

Andrew Norman Wilson, KODAK, 2018. Installation view at DOCUMENT, Chicago

JQ And why the choice to think about labor through this fictionalized, hypersubjective, perhaps even impressionistic lens?

ANW In the recent history of critical photographic art, there is a dominant insistence that a photograph is meant to be looked at literally for the information contained within the document, whereby the literal creates the possibility for an oppositional alternative to whatever plagues ordinary life or aesthetics (most often some form of “the man”). What this kind of work encodes is a certain fantasy of escape—a long tradition of humanism that likes to think that it can step outside the circuits of commodification.

Meanwhile, Google and Facebook are building a vast machine for converting every oppositional vector into a curve that bends right back to that very machine, a new input for a more personalized output. It does so not by making people stop having faith in opposition as a mode of critical thought, but by allowing—even encouraging—that faith, a faith people can gather around in optimism or critical pessimism, even while it builds parallel forms of collectivity that turn all action, all stances, no matter how oppositional, into capital accumulation built from preferences, affinities, and likes. The belief that subjectivity is somehow foreign to those circuits is a humanist fantasy—at this point we are informational capital.

Mental health conditions like schizophrenia might be useful in thinking through how we now relate to post-produced photographs, photorealistic 3D-modeled imagery, and even information. If the schizophrenic could take a step back, out of the affected self, she or he would understand her or his delusions to be just that, at which point these delusions would vanish and self-understanding would return. It is precisely this action of stepping out of the image that enables us to make a mental image—to put an image in front of the thing or to make a representation from memory. Mental conditions like this further obscure the sight of reality. When images internal to the psyche “appear” or surface on the retina and are projected back inward before making contact with the world, they generate looping pulses that embed the mind in a recursive fantasy.

Andrew Norman Wilson: Kodak is on view at DOCUMENT in Chicago until February 23.

Jared Quinton is a writer and curator based in Chicago.

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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.