Reception: September 12th > 5-8 PM

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Re-convergence (Algorithmic Archaeology)

Excuse me, I said. I thought you were a trout stream. I’m not, she said.

– Richard Brautigan, Trout Fishing in America.

‘Sometimes classified as secret, private or public, […] draft or proof’, Sean Snyder’s exhibition originates from a fragment of the Wikipedia entry for the word “document”. Furthermore, it is defined as ‘any concrete or symbolic indication, preserved or recorded, for reconstructing or for proving a phenomenon, whether physical or mental.’

The exhibition addresses the status of a document and consists of a matrix of disparate elements registered in the artist’s memory. It attempts to address the status of image production at present. DOCUMENT’s circumstance as a gallery and a commercial digital service entity is inscribed in the mental conception and physical presentation of the exhibition, which generates an internal production – distribution loop. Simultaneously converting and re-converting a digital and a physical, a real and an ephemeral, a high art and a consumer product, the presentation questions the very stability of the lines of divisions, yet sketching the ground plans of something that can be reactivated and used as evidence. Through actively engaging with public institutions, the artist excavates historical data that would otherwise remain invisible.

Convergence, a Jackson Pollock painting from 1952, reproduced as a puzzle was purchased via ebay. The scattered pieces of the puzzle are displayed on a surface of horizontal structure (Horizontal Propagation, 33 cm height x 119 cm length x 99 cm width). The structure is scaled to 50 percent of the size of the original painting that hangs in the Albright Knox Art Gallery. The painting’s political dimension and its being an element of Cold war propaganda as a representative of ideology of freedom and American exceptionalism with alleged CIA involvement in promotion of Abstract Expressionism is now more than a rumor of art history, but is not yet documented. In order to produce a (framed) document, Snyder contacted the CIA via email and asked a question regarding the utilization of art as a weapon during the Cold War. A print of the automated response confirming the reception of the question is dis-played in Question To The CIA (Abstract Expressionism), (black and white archival pigment print on matte paper, 53 x 67 cm, 2015).

A vertical video projection traces the location of an intervention by Daniel Buren, Watch The Doors, Please!, commissioned by the Art Institute of Chicago. The intervention was active from October of 1980 and continued for nearly two years. The project is not only credited as in situ, but in motion.

Snyder’s projection Vertical Traces, (HD data file, 1 minute 20 seconds, 2015) documents the location of the intervention visible from the exhibition space juxtaposing the images accessible at present via the online remote viewing technologies. The Google Earth searches represent the location as a rigid topographic scheme while the Bing search playfully animates the route of the transportation network with the rail lines rendered in gray and white, ironically reminiscent of Buren’s iconic stripes. Parallel to the projection, Snyder presents a transcript of a telephone conversation with METRA (Chicago’s public transportation network), inquiring about records of the process involved in arranging of the intervention by Daniel Buren. A number of departments were contacted before an inquiry was made to customer service main number. Transcript of Inquiry To METRA (Chicago Urban Transport), (black and white archival pigment print on matte paper, 42 x 29.7 cm, 2015).

An experiment in what might be speculatively referred to as institutional a(na)rcheology, a slide projection Three Incidents of Syncopic Analysis, (projected images, digital data transferred to 35mm slides, 2015) consists of the visual data (some images were loaned from the MCA-Chicago) of documentation of three selected iconic art installations and interventions that took place in Chicago in the 1960s and 1970s as well as present evidence of their locations. Despite that DOCUMENT is a commercial gallery, the process oriented experiment Three Incidents Of Syncopic Analysis is not for sale.

Audio from an MRI scan, Radiographic Search (MRI), (13 min 21 seconds,  mp3 audio in mono, 2015) intertwines sound with image throughout the exhibition space. Snyder references binding of projected images with the repetitive machine noise of the image producing medical apparatus to a work by James Coleman (Slide Piece, 1972-1973). Devoid of any linear structure, the matrix of re-representations is intended to generate an echo of audiovisual memory from multiple perspectives as if it existed previously.

According to online data, the location of the former MCA and the AIC is 180 meters above sea level, while the location of DOCUMENT is 179 meters above sea level. A printed image of an iTunes offer to purchase John Cage’s 4’33” for 99 cents. 0.99€ (black and white archival pigment print on matte paper, 53 x 67 cm, 2015).

Exiting the elevator that leads to DOCUMENT’s exhibition space, viewers are confronted with an automated sequence from the video game Adventure. The data has been reformatted for a 16:9 monitor, the duration altered, and the beginning and end omitted to emphasize the maze-like structure of the game. (Adventure Fragment. Atari (Algorithm), (HD data file, 1 min 01 second, 2015). Conceived in 1979, Adventure contains a secret room or an ‘easter egg’ as it is now known in media theory, crediting the game’s programmer. The secret message that had been hidden by Warren Robinett in the already widely-distributed game challenged the Atari corporation’s policy of anonymity.

Another layer of displacement involves the data for the entire exhibition, which is digitally backed at an underground data center known as the Swiss Fort Knox. Embedded in the Swiss Alps, the hermetically sealed cache claims it’s resistance to any existing threat and is lauded as one of the preeminent IT-infrastructure facilities on earth. According to the company’s online profile it is known as Europe’s most secure datacenter.

With Re-convergence (Algorithmic Archaeology) Snyder’s constructed labyrinth of references, based on algorithmic structures may seem to follow an arbitrary logic, when it is a highly articulated orchestration of signs and interconnection of numbers. What might seemingly be floating on the surface, might turn out to be far more layered. In the book Trout Fishing In America a big sign said: USED TROUT STREAM FOR SALE. MUST BE SEEN TO BE APPRECIATED. What page it’s on supposedly depends on which copy is available.

He is represented by Galerie NEU (Berlin), Galerie Chantal Crousel, (Paris) and Lisson Gallery (London).

His current inquiries can be pursued at:
http://mnemosynedrone.info/

Special thanks to Olga Bryukhovetska, Pit Schultz, Darian Leader, Michael Scott Hall, Aron Gent, Sibylle Friche, Ruth Hogan, Hyun Jeung Kim, Andrea Giacobino, Will A. Smith, Karl Cool, Gilles Coudert, Daniel Buren, Steven Bridges, Bonnie Rosenberg, Robyn Farrell, Warren Robinett, Bernhard Schreiner, Matthew Pagett, Bettina Allamoda, Vesna Petresin, Alan Butler, Ina Blom, Daniel R. Quiles, and Chris Clarke.

Elizabeth Atterbury

Elizabeth Atterbury (b. 1982, West Palm Beach, FL) received a BFA from Hampshire College and an MFA from MassArt. She lives and works in Portland, Maine. Recent solo exhibitions include Mrs. (Queens), Document (Chicago), The Colby College Museum of Art (Waterville, ME) and kijidome (Boston). She has been in two person and group exhibitions at the Portland Museum of Art (Portland, ME), Kate Werble (New York), Et al. Etc (San Francisco), and Bodega (New York) among others.

Atterbury’s studio practice is fluid, fluctuating between picture making and object making, relying on a series of glyphs that the artist has created to form a coded language. 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.  In her monotype prints that combine chine collé and embossing techniques, 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, 44 Flags 1, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 1, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 2, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 3, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 5, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 6, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 8, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 11, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 13, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 20, 2020, Chine collé and embossment

Elizabeth Atterbury, 44 Flags 21, 2020, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 1, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 3, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 6, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 9, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 10, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 28, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 36, 2019, Chine collé and embossment

Elizabeth Atterbury, Center Before Outside 39, 2019, Chine collé and embossment

Elizabeth Atterbury, Three Walking, 2019, Mortar, plywood, and glue

Elizabeth Atterbury, Center Before Outside (Red, Yellow, Blue, Black), 2019, Mortar, plywood, glue

Elizabeth Atterbury, Labor, 2019, Mortar, plywood, and glue

Elizabeth Atterbury, Tango Tango, 2020, Mortar, plywood, and glue

Elizabeth Atterbury, Tango Tango (detail), 2020, Mortar, plywood, and glue

Elizabeth Atterbury, The Well is a Wall, 2020, Mortar, plywood, and glue

Elizabeth Atterbury, The Well is a Wall (detail), 2020, Mortar, plywood, and glue

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

Installation view, Night Comes In, 2018, Mrs., New York, Clockwise from the floor: Arrangement 1 (Discoveries), 2018, Mixed media, Dimensions variable; Beads III, 2018, Peach pits, 61.5 x 1 x 1 inches; River Poem, 2018, Mortar, plywood, glue, 23 x 19 x 1 inches

Em Oh Em, 2017, Beach Sand, basswood 8.5 x 3.5 x 2.25 inches (each)

Urn, 2018, Basswood, ash, 7 x 7 x 3.625 inches

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

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

Installation view at DOCUMENT

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, 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

We are proud to support gallery artist Paul Mpagi Sepuya in a fundraising effort for organizations that fight systemic and individual racism, police brutality and pretrial detention, unfair and corrupt elections, and advocate for equality, justice and inclusion.

Please see below for more information about purchasing a solidarity print. 

Paul Mpagi Sepuya Studio (0X5A4983), 2020, Archival Pigment Print, Print size 6″ x 9″, Paper size 8.5″ x 11″ Unlimited Edition

This unlimited edition print by gallery artist Paul Mpagi Sepuya is offered for a minimum $250 donation to any of the organizations listed below. We strongly encourage you to make a donation that reflects your capacity to give. Suggested donation amounts are $250, $500, $1,000, and upwards. Limit one print per person.

To purchase a print, please make your donation to any of the organizations listed below. Then e-mail your donation receipt to solidarity@paulsepuya.com with your full name and mailing address.

Donations made after 5/30/20 will be honored.

DOCUMENT is donating the cost of printing and will ship prints directly to purchasers. USPS shipping within the United States of America is complementary. International shipping will be organized by DOCUMENT at the purchaser’s expense. The print will be shipped to you unframed and unmounted directly from the printer. Please note that your print may take about 30 days to be printed and shipped.

Organizations:

Alliance of Californians for Community Empowerment

Black Lives Matter Los Angeles

Black Trans Advocacy Coalition

CURB Prison Spending / Californians United for a Responsible Budget

Fair Fight

LA Art Workers Relief Fund

The Laundromat Project

LGBTQFUND.ORG

National Bail Out

No More Deaths

The Robert Giard Foundation Grant to an emerging LGBTQ photographer

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.