EXPO CHICAGO – Newcity Official Guide

13-17 SEPTEMBER 2017 | NAVY PIERNEWCITY OFFICIAL GUIDEEXPO ART WEEK

Opens September 12Charlotte Perriand. Prefabricated Kitchen Unit, Les Tournavelles, Arc 1800, Savoie, France (detail), 1975-78. Funds provided by the Architecture &Design Society; Ludwig Karl Hilberseimer. Highrise City (Hochhausstadt), Perspective (detail), 1924. Gift of George E. Danforth; Bless: Ines Kaagand Desiree Heiss. Bless Beauty Hairbrush, 1999. Architecture Purchase Account Fund; all(zone) and Rachaporn Choochuey. Light House: TheArt of Living Lightly (detail), 2015. Gift of all(zone) in collaboration with Offscene Films; Yuri Suzuki and Mark McKeague. OTOTO (detail), 2013.Architecture Purchase Account Fund.

13–17 SEPTEMBER 2017 Each September, EXPO CHICAGO opens the fall art season at historic Navy Pier. Now entering its sixth edition, EXPO CHICAGO presents artwork from 135 leading galleries— including over 3,500 artists, representing 25 countries and 58 cities from around the world. The exposition offers a dynamic roster of programming including panel discussions with leading artists, curators, and collectors; uniquely curated site-specific projects at Navy Pier and throughout Chicago; cutting edge film, video, and new media work; curator-led tours; and special exhibitions by renowned institutions. EXPOCHGO201 7Lake Series (Lake Michigan) by Lincoln Schatz 1COVER: Installation view, Shannon Finley (2016). Image courtesy ofCarrie Secrist Gallery and EXPO CHICAGO.

David Hartt, “Carolina I,” 2017, archival pigment print mounted to Dibond, print size 36 x 54 inches.Courtesy of Corbett vs. Dempsey and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.

A Conversation with Artist David Hartt about his Project “in the forest” EXPOCHGO201 7 BY FRANCES DORENBAUM Into the Woods David Hartt is an artist formerly from Chicago and currently based in Philadelphia. His work combines photography, film and architectural installations to explore social, political and economic histories. Hartt, who will be sharing in this year’s EXPO /Dialogues,spoke with Newcity about his most recent project, “in the forest,” a film exploring the remnants of the failed Habitat Puerto Rico project designed by Moshe Safdie in the late 1960s in San Juan, Puerto Rico. This work will feature in his exhibition at the Graham Foundation in partnership with the Chicago Architecture Biennial. 3

A Conversation with Artist David Hartt about his Project “in the forest” Tell me about your film, “in the that the site was originally intended which is in the interior. Three units to work out is the relationship of forest.” for the Habitat project, which never are perched on a hillside overlooking the anthropologist to the subject. happened. But something else took pastures, repurposed as a cowshed. For me, there is, for lack of a better It takes place in Puerto Rico and root and grew there, so I wanted to There’s another grouping of four or word, an earnestness, and the relates to both the history of Safdie’s go back and investigate that. five units that are quite near the work is a way to engage and to try Habitat Puerto Rico and different beach, but again in a field for cows, to understand the dynamics of the sites scattered around the island. In the process of doing that, in and those are essentially abandoned. site. Specifically, the site itself is a The film begins in the urban park collaboration with researchers, I They were quite far off the grid. representation of a very discrete Bosque Urbano de San Patricio, tracked down whatever physical ideological position. I find them which was the original site for remnants still existed in Puerto Rico It was really interesting to see because of my interest in the idea Habitat Puerto Rico. The project regarding whatever construction the degree to which—from my that they represent. There’s always actually didn’t go ahead there, but took place. That became the prem- perspective and in terms of the a negotiation between the objective my initial attraction was to this site. ise for the film. significance of Safdie and his portrayal of the site and my own sub- architecture for me—to see these jective analysis of it, and ideally the I have a wonderful Safdie publica- Your images of the forest make it things largely forgotten was quite viewer moves through those shifts tion called “For Everyone A Garden.” look gorgeous. an eye-opening experience. in perception and understanding The book details a number of his that I go through when engaging projects including Habitat Puerto It makes for this incredibly magical You know the structures in Mon- and making the work. Rico. There’s this photograph, an environment. Although in one’s treal very well, but how was it for aerial shot of the initial site, which actual physical experience of it, you to enter into the Puerto Rican Safdie was also an outsider to has the Borinquen Towers to the there’s the intensity of the sonic landscape? The initial shots in the Puerto Rico. As a Canadian-Israeli left, and the commercial plaza in the landscape: the buzzing of the film taken from an aerial view he had some understanding of the foreground, and in the background insects, the chirping of the birds, show an outsider’s perspective. context of Montreal where he is this forested hill. I decided to go the human waste. There is a forlorn designed Habitat 67, the inspira- back to that historical image just to quality to it, its own tragedy that I think that’s always the challenge tion for Habitat Puerto Rico, but in see if I could actually find the site has absolutely nothing to do with with my work. One of those things Puerto Rico, he was a newcomer. itself. I used Google Earth to find the legacy of the site, but has more I’ve always kind of dreaded is that exact vantage point. to do with the desolation caused by being perceived as someone who The challenge wasn’t him as an poverty and massive speculation is just kind of showing up and outsider per se, in terms of not being How did that discovery affect the and other ailments of neoliberalism. offering their perspective with no able to respond to the vernacular project? real commitment to the site itself. context. I think there was a level Some of the housing modules And in fact, my choice of title “in of intimidation, and you see that as It was a eureka moment. I became intended for the site were repur- the forest” comes from a chapter he went through the process, trying interested in what existed today posed—everything from office title from Levi-Strauss’ “Tristes to get accreditation and trying to within the contemporary landscape. space to suburban homes. I visited Tropiques.” find a local firm to partner with It’s important to me and a focus of three of them, one in Arecibo, him. Even the Housing and Urban my work to consider how to address which only appears in the suite of Is it possible to de-exoticize the Development representatives that the contemporary. How does one photographs. At one point, it was image? were financing the project were begin to address the legacy of differ- converted to a beachfront dwelling, stonewalling him. Then there were ent modernisms and their effects on but for whatever reason it’s been There’s no escaping it, it will always engineering challenges. What he the landscape? My initial focus was abandoned. Then I went to Camuy, have that kind of otherness. One of the things that Levi-Strauss triesEXPOCHGO201 7 David Hartt, still from “in the forest,” 2017. 4K Digital Video File, color, sound; 20 min. Courtesy of Corbett vs. Dempsey4 and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.

EXAMINE THE Admission is always free. All are welcome.RADICAL POTENTIALOF THE EVERYDAYAT THE SMART MUSEUM OF ART Revolution Every Day September 14, 2017–January 14, 2018Emmanuel Pratt Valentina Kulagina, International Working Women’s Day Is the Fighting Day of the Proletariat, 1931,Radical [Re]Constructions Lithograph on paper, 39 5/8 x 27 5/8 in. (1100 x 725 mm), Ne boltai! Collection. Dziga Vertov and Ekaterina Svilova, still from The Three Heroines, 1938, digital transfer fromSeptember 12, 2017–Spring 2018 35mm film, 54 min. Courtesy of the Vertov Collection of the Austrian Film Museum. Jayna Zweiman Welcome Blanket through December 17, 2017Emmanuel Pratt, Concept sketch for Radical Handmade blanket created for Welcome Blanket.[Re]Constructions, 2017. Courtesy of the artist. smartmuseum.uchicago.edu 5550 S. Greenwood Avenue, Chicago, IL 60637

ADAM SIEGELFROM THE WABI-SABI SERIES PORTRAITS IN EVOLUTIONOPENING SEPTEMBER 8TH, 2017THE GOLDEN TRIANGLE 330 N. CLARK ST, CHICAGOGOLDENTRIANGLE.BIZ

A Conversation with Artist David Hartt about his Project “in the forest”wanted to build, there was no precedent, so he score is actually the kindpartnered with a number of innovative firms that of ambient experience ofwere willing to try and figure things out with him, moving through that forestbut they ran into budget issues. environment. There are seating areas where you canOne thing that’s always been there in terms of sit and listen. The score ismy relationship with representing historically generated both from fieldmodern buildings is the imperatives that preoc- recordings that I did on thecupied the developers and the architects, like the actual sites as well as thepromise of modernism using mass production electronic composition thatand contemporary technologies to bring a better my collaborator Karl Fousekquality of life to as many people as possible. We did. So there’s both thisunderstand that as being the spirit of modernism. discreet relationship with theI think there’s a degree of egotism, where there film, but also a relationshipare strong figures, a clear vision, and a desire to with the site itself.realize ambitious projects. How do you separatethe spirit of a better quality of life for all with the Within the film is thereauthority of quite a hierarchical context? something to be said about individuality prevailingFor me, what makes a city incredibly rich and amidst the repetition ofinteresting is how diverse it is. When you reduce modular forms?the level of participation and authorship to a selectfew, you also diminish the expression of the city That’s the negotiation that David Hartt, 2015 / © Braxton Black / courtesy the artist.and introduce a dynamic tension between the happens within the work,promise of some of these projects and the reality the degree to which I pri-of having to actually live within them—that’s one oritize my own subjectiveof the questions that the project begins to address. experience of the space. I’m interested in putting thingsHow do you preserve the intent of a setting out there and having themeant to feel democratic and social while viewer really try and teasealso acknowledging the alienating sensation out some of the issues that Iof abandonment? think are inherent.One of the important things about the way I Is it fair to interpret the film and so is the sense of optimism toward the end.make my films is your own perspective, your as somewhat optimistic, addressing the cyclical The folly that I’m referring to has more to do withown embodiment or physicality are a component process of nature, growth and rejuvenation the folly of making a piece like this. For me, theof the film. Within the Graham Foundation’s over time? same way the drone hovers in the aerial shots,Madlener House there is quite an elaborate I think I do too in terms of the positive or negativesculptural environment with the tropical plants I called it “the optimistic folly of the work,” but valence of the work, which is always shifting.and speakers actually distributed throughout it’s not necessarily. There might be an ominousthe galleries where the film is not playing. The quality to the work, but that’s your interpretation, EXPOCHGO201 7David Hartt, still from “in the forest,” 2017. 4K Digital Video File, color, sound; 20 min. Courtesy of Corbett vs. Dempsey 7and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts.

A Conversation with Artist Derrick Adams BY LEE ANN NORMAN Reinventing the Image of Black Creativity Although Brooklyn-based multidisciplinary artist Derrick Adams is known for creating images and experiences that draw heavily from popular culture, the themes he explores aren’t simply about being “hip.” In “Future People,” on view at the Stony Island Arts Bank through September 18, Adams continues to explore representations of black Americans on television and in the media, but was able to incorporate hidden histories embedded in the Arts Bank’s eclectic archives. In preparation for the exhibition, Adams drew on historical achievements in science, technology and design to tell little-known American stories, an approach that will feature highly in his work during the coming year. This fall, Adams’ work will be in the group exhibition “Lines of Influence” at the Savannah College of Art and Design, which celebrates Jacob Lawrence’s centennial and his influence on generations of artists, and an exhibition based on the “Negro Motorist Green Book” at the Museum of Arts and Design in New York City. Adams, a National YoungArts Foundation Visual Arts alum and master teacher, will speak at EXPO on the importance of mentorship for young emerging artists as they navigate critical junctures in their careers. Newcity recently spoke with Adams to learn a bit more about his interest in blending pop culture and hidden histories. Your show at the Arts Bank seems A little over a year ago, I was invited Americans. I began to think of it a space shuttle. I was interested in to encapsulate a lot of your multi- to tour the Stony Island Arts Bank. like a time capsule, housing valuable finding things dealing with black disciplinary practice. Can you One of the things that really stuck information for the future. I came culture and innovation, creativity talk about how that exhibition with me was that their archive holds up with an exhibition concept that and histories that aren’t highlighted came about? history, mostly focused on black would mirror the control center of in American culture normally. We hear a lot about the challenges Afri- can Americans have in this country, around the world really. I wanted to offer viewers something different when they encounter images around the history of America and who contributed to it. What sort of things did you find? Were there objects or histories that surprised you or took you in a direction you weren’t expecting?EXPOCHGO201 7 I went into the whole experience very open. I wanted to work based8 on what I found, but also on what Installation view of “Derrick Adams: Future People” at the Stony Island Arts Bank, Chicago, Summer 2017 I didn’t find. I was looking for things that were related to popular cul- ture, but also things that advanced humanity. For example, the View- Master toy was designed by a native Chicagoan, a black American; the Rubbermaid trash can and some classic cars were also designed by African Americans. These objects had so much impact on society, but their creators often go unnamed. I am interested in how we as artists

The Serenity of Madness September 15 Reception SAIC Sullivan Galleries September 18 Curator Tour 33 S. State St., 7th floor September 19 Artist Lecture Throughout October Screeningstake on the role of storyteller. I’ve always wantedto highlight alternative stories as a way of reas- Full list of lectures and screeningssuring people that we still proceed in the face ofoppressive structures in this country. saic.edu/serenityofmadnessYou were a classroom teacher before going SEPTEMBER 16–DECEMBER 8to graduate school. I assume that a lot of yourthinking around arts experiences, learning, THE SERENITYhistory and engagement was informed byyour teaching. MADNESS OFYes! My undergraduate degree is in Art Education Apichatpong Weerasethakul, Ghost Teen, 2009. Courtesy of the artist. Derrick Adams / Photo: Terrence Jennings.from Pratt and my MFA is in New Genres fromColumbia. As an undergraduate, I was really EXPOCHGO201 7interested in the way people understand imagesbased on context, so I changed my major from The exhibition is produced by Independent Curators International 9painting to education. I was also interested in (ICI) with SAIC’s Sullivan Gallerieshow to deconstruct images in a way that actually curatorsintl.org/exhibitionsallows the viewer to feel empowered once theyleave an exhibition rather than when they firstencounter it. I want to create a language forimages that is both empowering and critical butalso entertaining.I think a lot about how we can reclaim art prac-tice for ourselves, from its intimidating realm.That’s very important for me. I want to con-nect as much as I can with the audience that’sinspiring my work. I think about how the formalelements of art connect with a viewer. WhenI’m designing exhibitions, I think about thenon-artist—what would they want to see? I’mtrained to look at art and understand its signsand symbols in a certain way. I want to knowhow to draw people in who do not have thattrained eye.This idea of redefining images and ways oflooking to make connections between formalelements in art and the everyday also comesup a lot through an emphasis on gatheringpeople, community, and even joy in your work.I wouldn’t necessarily call it joy, but there iscertainly a level of optimism that I want toemphasize. I’m excited that there are so manydifferent conversations happening in contem-porary art [about black culture], but there isstill room to highlight what African Americansthemselves want to see. It’s important to not onlythink about how you are projected upon, butalso think about how you want to see yourself.Artists can play a huge role in that. I rememberthe art-history professor my freshman yeartalking about how stained-glass windows weredesigned to influence their relationship withGod. Some of the people were illiterate, so theimages were really important to helping themunderstand life and their faith. Those imageswere aspirational in a lot of ways. People wantedto connect to them. I want to create images thatpeople aspire to connect with. Making work thatemphasizes struggles and oppressive systemsis necessary, but I believe we need stories thatshow how we have risen above the challenges. Iwant a person who walks into my exhibitions tohave a different perspective of themselves, so atthe Stony Island Arts Bank, I want them to thinkabout black creativity and invention differently,and when people look at my “Floaters” series,I want them to have a different perspective onleisure… and I want to see it too.

A Conversation with Naomi Beckwith and Romi Crawford BY B. DAVID ZARLEY Instagram, Blogs and Selfie Sticks as New Tools for Conversations About Art Contemporary art can be thought of as two interrelated components: the visual and material aspects of the artwork, and the ideas, concepts and context from which these aesthetics spring. The internet and social media have flattened the world, allowing viewers from across the globe—and from all the neighborhoods around a museum or gallery—unparalleled exposure to art. The question now is, how does one navigate an art world that can be traversed in an instant? Naomi Beckwith, curator at Chicago’s Museum of Contemporary Art, and Romi Crawford, associate professor of Visual and Critical Studies at the School of the Art Institute of Chicago, talked with us about how technology can shape both the images and ideas around art, and the challenges and opportunities that future curators and critical thinkers will face with these new platforms. Both will be participants in /Dialogues panels during EXPO CHICAGO including one together on September 14.EXPOCHGO201 7 Thanks to the internet, art circu- lates all around the world at every Installation view, “Takashi Murakami: The Octopus Eats its Own Leg,” MCA Chicago, June 6 – September 24, 2017. moment. When you’re curating a show, do you feel a pressure or10 / Photo: Nathan Keay, © MCA Chicago. an excitement to be able to reach that huge audience and make sure that the people who live in your community will also enjoy it? Naomi Beckwith: I wouldn’t call it pressure; I think if anything, a responsible curatorial practice is always thinking about an audience that’s beyond the people who walk in your door. In fact, this idea of reaching out to a broader audience is the very reason why the exhibition catalog was invented. Everyone understands that any show that you do will only be seen by a handful of folks, even if it’s a blockbuster show. The potential audience is always much, much bigger than the physical audience. And so I think the concern curato- rially has always been, how do you present the show in a way that feels complete, even if someone’s not in the space? The first step for that, historically, has been the exhibition

In honor of the fifth anniversary of the Reva andDavid Logan Center for the Arts, join us in celebratingour community partners, artists, neighbors, students,faculty, scholars, and staff. The yearlong celebrationkicks off with 12 hours of art-making activities,exhibitions, performances, a BBQ, and more at theLogan Five Year Bash on Saturday, October 7, 2017.Registration recommended at tickets.uchicago.edu.EXHIBITIONS HIGHLIGHTSCurrent Exhibition | Cinthia Marcelle andTiago Mata Machado: Divine ViolenceSeptember 8–October 29, 2017Opening reception & artist tour:Friday, September 8, 6–8pmLogan Center Gallery915 E 60th StreetTalk | Thiago de Paula Souza on Divine ViolenceSaturday, October 7, 2pmLogan Center Performance Penthouse915 E 60th Street #LoganTurns5 loganfiveyear.uchicago.edu

A Conversation with Naomi Beckwith and Romi Crawford catalog, but of course new tools are available to us now. Exhibition catalogs are often not cheap; often they are harder to obtain than just going on Instagram and seeing what visitors to a show have posted. Can you speak to how these inter- net platforms have even further democratized the process of seeing art? NB: I like to make a distinction between viewing a work of art in person and seeing an image of it online. Those are entirely different things. Now, that doesn’t mean, of course, that you can’t have a meaningful experience from a mediated image when you’re not in front of the work. Websites and social media have allowed people to see an object in a way that they would have never been able to lay eyes on. But I think it’s important to keep that distinction there. Now, at the same time, I do feel as though that you need to also make sure that ideas are represented in this kind of digital or multimedia-based platform. And so where the exhibition catalog is inaccessible sometimes in terms of price or availability, for some people it’s also inaccessible in terms of the ideas that are discussed, because an exhibition catalog tends to be fairly academic. “Support Black Liberation, Wall of Respect” / Photo: Roy Lewis The question is, how do you think about multiple levels of audiences? Those who are interested think that the internet is adding more voices I think that it also is our responsibility as institu- in that kind of academic side of things, but also to this big conversation about art? tions to foster that. I think the biggest challenge those who will never see that work in person. for us is how to get people looking at art, and not How do you get across ideas, not just the image RC: I think ultimately I would say yes. And I think necessarily looking at themselves looking at art. on digital platforms? that’s important. Romi Crawford: I really care so much these I do think that there are other historical ways On that note, during the curatorial process, do days about the ideas from which the art object that people in art communities have been able you consider, “hey, this thing here might be emanates. For a long time I was involved at the to locate themselves and their identities that something that people will take pictures of! School of the Art Institute’s Visiting Artists were also viable. One should recall that this This will probably end up on Instagram, this Program, and that for me was really much more was done in other eras and periods, but maybe will probably end up with selfies” or whatever. interesting than I think people realize. It was my with a different type of speed and you weren’t Does that ever enter your mind? earliest way of getting away from the object necessarily connecting with people all over the NB: Oh, absolutely. And some things you just and find another way into the art making project world as actively as we are now. People didn’t realize will be the selfie stick station, and that’s through the voice of the artists. always find themselves with a group of other just going to happen. black people or queer people or people in the I think that goes to the blogs as well, the websites same economic class through a technology, but Sometimes we do that intentionally. The and the blogs are also entities that allow us to they did through other logics. Murakami show for example, we knew that it situate the artists’ voice through conversations or would be super popular with people who love interviews and we get to see them and hear them in NB: I think we have to remember these really visual culture and like to take selfies, and so we a way that we wouldn’t in a proper catalog setting. interesting moments, where there were intersec- just literally set up a place where you could just With social media it’s easier than ever for the tions of interests and ideas of people in places sit there and take pictures of yourself all day long. artists to directly tell people what they mean that we didn’t presume. behind their art. The artists can talk to you I don’t think we should disparage this kind of easier now more than ever, but also their art Once upon a time, it was a little harder, but it instinct to think about things on a purely visual can be detached from them and disseminated totally happened, and I think the question that level. The hope is that people who are just around the world easier as well. you’re asking is, how does art fit into a process interested in the visuality still learn something. of discovery? And also how is art essential to a The station is a way in, it’s a gateway. RC: I really like the art field because you have all process of community building? And how do of these at play, and they get messy! They can you also engender a real sense of knowledge RC: It’s literally a gateway. We did a show that create friction and dialogue and dissent and all production from that process? just closed yesterday at the Cultural Center which was on the Wall of Respect—co-curated that stuff, which I think is actually productive. These new technologies have given a speed by Abdul Alkalimat and Rebecca Zorach—andEXPOCHGO201 7 I’m interested in the artist’s voice as a path to and scale to creating communities, but I feel I did not think about the fact that people would move away from the object. But I don’t think that like sometimes they can undercut depth. I’m take tons of photos of themselves in front of what that’s a more viable, valued, important piece than interested in what you think about a depth of basically ended up being a life-size reproduction any other, I really don’t. It’s a complex puzzle with community being sacrificed for the speed and of the original wall. But people from all over the myriad pieces and logics and contributions, and size of the community. world would take photos of themselves as if they I would like to think that all of those are active at were at 43rd Street and Langley, where the wall the same time, so there’s some kind of maximum NB: I don’t know if I’d say sacrifice; I think, like once stood. dynamism in this undertaking. any other tools, digital platforms are as good as you make them, and as good as you use them. We’re all learning a set of best practices around12 You mentioned this idea of dynamism, and the And when you make them on the museum side, this; it’s all sort of great and it’s wonderful, and dialogues that open up. I think one of the nice then the question is how do people use them? it’s weird at the same time. We all have to help things that’s come out of social media is that each other to understand how it’s legitimate and it’s easier than ever before for people to find There are multiple ways to figure out how to how it’s positive, and to see through the aspects out that they are not by themselves. Do you make the most useful tools of these digital, global of it which are weird and strange and retrograde. platforms to really start building a community.

David Harttin the forestSeptember 14, 2017–January 6, 2018 Image: David Hartt, still from in the forest, 2017. 4K Digital Video File,Graham Foundation color, sound; 20 min. Courtesy of Corbett vs. Dempsey and commissionedMadlener House, 4 W Burton Place, Chicago by the Graham Foundation for Advanced Studies in the Fine Arts.www.grahamfoundation.org

MAKE MAKE MAKE 9.16.2017 – 1.07.2018 chicagoarchitecturebiennial.orgMAKE MAKE MAKEMAKE MAKE MAKE NEW NEWMAKE MAKE MAKE NEW NEWMAKE MAKE MAKE NEW NEWMAKE MAKE MAKEMAKE MAKE MAKEMAKE MAKE MAKEMAKE MAKE MAKEMAKE MAKE MAKEMAKE MAKE MAKEMAKE MAKE MAKEHISTORY51N4E Barozzi Veiga Ensamble Studio Karamuk * Kuo Architects OFFICE Kersten Geers David Stan Allen Architect6a architects Baukuh and Stefano Graziani Éric Lapierre Architecture Katharina Gaenssler Van Severen with Studio Anne HoltropÁbalos + Sentkiewicz and Besler & Sons LLC Fake Industries Architectural Keith Krumwiede Peter Wächtler and Studio Gang BLESS Kéré Architecture Michael Van den Abeele Studiomumbai Armin Linke Brandlhuber+ and Agonisms and Aixopluc Khoury Levit Fong Sylvia Lavin with Erin BeslerAdamo-Faiden fala atelier Kuehn Malvezzi Pascal Flammeraddenda architects with Christopher Roth Filip Dujardin LAN with Franck Boutté and and Norman Kelley BUREAU SPECTACULAR Fiona Connor and Erin Besler Paul Andersen and Paul Preissner T+E+A+M Joachim Brohm and Cameron Wu First Office project produced by Pezo von Ellrichshausen Tatiana Bilbao Estudio Moritz Küng Caruso St John with formlessfinder Pavilion de l’Arsenal Tham & Videgård ArkitekterAGENdA - agencia de Fosbury Architecture l’AUC as l’AUC Arquitectos The Empire with Ilaria Forti, arquitectura Thomas Demand and Francois Perrin Luca Galofaro Philipp SchaererAires Mateus Hélène Binet Frida Escobedo Luisa Lambri Philippe Rahm architectes Joseph Swerdlin,An Te Liu Charlap Hyman & Herrero Gerard & Kelly Piovene Fabi and Giovanna Silva and Barbara MondoloAndrew Kovacs Charles Waldheim with Go Hasegawa Lütjens Padmanabhan Architekten Point Supreme The LivingAngela Deuber Architect Office for Urbanization HHF Architects Machine Project PRODUCTORA The Los Angeles Design GroupAnia Jaworska Harvard Graduate School IIT College of Architecture + Made in REAL Foundation Theaster GatesAranda\Lasch and of Design and MAIO Robert Somol Thomas Baecker Bettina Kraus Terrol Dew Johnson Siena Scarff Design SANAA MALL SADAR+VUGA Tigerman McCurry ArchitectsArchi-Union Architects Christ & Gantenbein Iñigo Manglano-Ovalle Marianne Mueller Sam Jacob Studio Toshiko Mori Architectarchitecten de vylder vinck Christian Kerez J. MAYER H. und Partner, Marshall Brown SAMI-arquitectos and UrbanLab taillieu Daniel Everett Matilde Cassani UrbanusArchitecture of the VII Day David Schalliol Architekten and MG&Co. Paulo Catrica Veronika KellndorferAtelier Manferdini Dellekamp Arquitectos Philip Ursprung Michelle Chang Sauter von Moos WELCOMEPROJECTSAWP office for Design With Company James Welling Monadnock Scott Fortino WORKac territorial reconfiguration Diego Arraigada Arquitectos Jesús Vassallo MOS Sergison Bates Zago ArchitectureBak Gordon Arquitectos Dogma Jorge Otero-Pailos Norman Kelley Serie Architects ZAO/StandardarchitectureBarbas Lopes Arquitectos Dominique Perrault Architecture June14 Meyer-Grohbrügge Nuno Brandão Costa with SHINGO MASUDA +Barkow Leibinger DRDH Architects & Chermayeff junya ishigami+associates André Cepeda KATSUHISA OTSUBO Architects SO-IL and Ana PrvačkiPresenting Sponsor Founding Sponsor

OFFICIAL GUIDE From the Director13-17 SEPTEMBER 2017 | NAVY PIER Join us in welcoming the 135 leading international Presenting Sponsor art galleries from 25 countries and 58 citiesPlan Your Visit................................................................. 16 participating in EXPO CHICAGO this September.From The Mayor ............................................................. 17Participating Galleries.................................................... 18 EXPO CHICAGO (September/Dialogues........................................................................ 20IN/SITU............................................................................ 22 13–17) at Navy Pier is proud toEXPO VIDEO.................................................................... 23OVERRIDE | A Billboard Project..................................... 25 be a part of a long list of greatEXPO ART WEEK............................................................ 26Palais de Tokyo | Singing Stones................................... 28 exhibitions, performance,Art After Hours................................................................ 29Chicago Architecture Biennial...................................... 30 art installations, and eventsexpochicago.com opening the 2017 Fall art season, showcasing the depth and cultural diversity that our great city offers. With the Photo by Audia exposition as the centerpiece, we join over seventy of the city’s cultural institutions and organizations to highlight the unique programming and special events offered throughout Chicago for EXPO ART WEEK (September 11–17, 2017), a citywide celebration of arts and culture. At EXPO CHICAGO, you can attend over twenty-five /Dialogues panels, bringing leading artists and profes- sionals together for provocative and insightful discourse; experience IN/SITU, our section of large-scale installa- tions, curated by Florence Derieux; and explore EXPO VIDEO, a dynamic selection of film, video, and new media work curated by Ali Subotnick. Outside of the fair, our IN/SITU Outside program is not to be missed, siting large scale sculptures throughout Chicago, as well as OVERRIDE | A Billboard Project (August 28–September 17) featuring twelve international artists throughout the City’s digital network. We are extremely proud of two important date align- ments—the Chicago Architectural Biennial (September 16, 2017–January 7, 2018) entitled Make New History, Co-Artistic Directed by Sharon Johnson and Mark Lee of Johnston Marklee, as well as our partnership with the venerable Paris institution the Palais de Tokyo, to present their first off-site exhibition in the United States, entitled Singing Stones (September 12–October 29) at The Roundhouse at the DuSable Museum of African American History. We acknowledge the extraordinary support of our presenting sponsor, Northern Trust, and our over 80 sponsors and partners; Mayor Rahm Emanuel, City of Chicago; Commissioner Mark Kelly and the staff of the Department of Cultural Affairs and Special Events (DCASE); Jack Guthman, Chairman, Todd Palmer and the staff of the Chicago Architecture Biennial; Jean de Loisy and the staff of the Palais de Tokyo; Michael P. Kelly and staff of the Chicago Park District; Choose Chicago; Marilyn Gardner, Michelle Boone and the Navy Pier Inc. board and staff; Perri Irmer and staff of the DuSable Museum of African American History and the unwavering support of our civic committee, artists, galleries, business and cultural leaders who shape our great city. We look forward to seeing you at EXPO CHICAGO 2017, EXPOCHGO201 7 and at the many public events and openings featured in this comprehensive guide. Onward, Tony Karman 15 President | Director

13–17 SEPTEMBER 2017 Each September, EXPO CHICAGO opens the fall art season at historic Navy Pier. Now entering its sixth edition, EXPO CHICAGO presents artwork from 135 leading galleries— including over 3,500 artists, representing 25 countries and 58 cities from around the world. The exposition offers a dynamic roster of programming including panel discussions with leading artists, curators, and collectors; uniquely curated site-specific projects at Navy Pier and throughout Chicago; cutting edge film, video, and new media work; curator-led tours; and special exhibitions by renowned institutions. EXPOSITION HOURS VERNISSAGE Thursday Friday Saturday Sunday Wednesday | September 13 | 6:00–9:00pm Benefiting the Museum of Contemporary Art Chicago September 14 September 15 September 16 September 17 The MCA hosts Vernissage, the Proceeds from Vernissage raise 11:00am– 11:00am– 11:00am– 11:00am– opening night preview of EXPO significant funds in support of the 7:00pm 7:00pm 7:00pm 6:00pm CHICAGO at Festival Hall, Navy mission of the MCA’s education Pier. This extraordinary benefit, department, whose programs ADMISSION organized by the MCA Women’s offer compelling opportunities to Board, is a highly anticipated explore, challenge, discuss, and $20 Daily | $40 Four-Day pass | $15 Groups of 10 or more event each year. This year is reflect on the MCA’s holdings and Advanced tickets available at expochicago.com particularly special as it coincides the larger world of contemporary with MCA 50, a celebration of the art and culture. 50th anniversary of the MCA’s founding in 1967. Tickets and packages available at mcachicago.org/vernissage NAVY PIER FESTIVAL HALL Navy Pier Festival Hall, 600 E. Grand Ave. Upper Level Main entrance, lower level of Entrance 2. FREE SHUTTLE ALIGNING WITH EXPO CHICAGO Thursday–Saturday 11:00am–8:00pm; Sunday 11:00am–7:00pm Shuttle service is free and open Pick-up and Drop-off Locations Singing Stones 16 Sept 2017–7 Jan 2018 to the public during EXPO CHICAGO. All shuttles depart ∙∙ Museum of Contemporary 13 Sept–29 Oct 2017 The Chicago Architecture from Navy Pier, Entrance 2 Art Chicago Biennial (CAB), the largest in (lower level lobby of Festival Hall). (E. Chicago Ave. and Opening Reception North America, is dedicated to Shuttles will run from each stop Mies van der Rohe Way) Tuesday, Sept 12, 2017 approximately every half hour. Last pick-up occurs thirty minutes ∙∙ The Art Institute of Chicago Curated by Katell Jaffrès creating an international forum after the fair closes. (Modern Wing EntranceEXPOCHGO201 7 on E. Monroe St.) (Palais de Tokyo) on architecture and urbanism Art Institute ∙∙ The Sullivan Galleries The ambitious, large-scale through the production of at the School of the Art Institute of Chicago eRxohuinbdithioonuwseillattatkheepDlaucSeaabtlPetlhuse exhibitions and public programs. (State St. and Monroe St.) Plus de 3cm de 3cm The second edition’s theme, Make New History, explores Museum of African American the History, featuring emerging relationship between architectural artists from Chicago and the history and the future. Moins de 3cm international French scene Moins de 3cm EXPO CHGO16 Navy Pier with a singular approach to the SAIC MCA space and exhibition design.

alti cibi Exposition InformationON-SITE DINING From the Mayoralti cibi Eataly will offer a curated selection of Italian favorites, such as housemade As Mayor, and on behalf of the City of Chicago, mozzarella, cured meats, artisanal I am pleased to offer greetings to those participating cheeses, antipasti, full plates, gelato, in and visiting the sixth annual EXPO CHICAGO, The pastries, and more in the North and International Exposition of Contemporary & Modern Art, South Cafes, the Main Dining Area and the VIP Collectors Lounge. September 13–17alti cibi Hannah’s Bretzel will serve handcrafted Our city is honored to European style sandwiches made with welcome 135 of the world’s freshly baked organic bretzel bread, as premier galleries from 25 well as fresh salads, housemade soups countries and 58 cities and organic desserts, and specialty around the world along with chocolates in the Main Dining Area. leading international collec- tors, curators and visual artsalti cibi Ruinart is the official champagne of EXPO experts. With Northern Trust CHICAGO for the sixth consecutive year, as the Presenting Sponsor, featuring Ruinart Blanc de Blancs and I am proud of what this Ruinart Rosé, available on the exposition extraordinary event has floor and at a dedicated bar in the VIP become, and very excited Collectors Lounge. for the occasion to show- case all that Chicago has to Nespresso will be serving luxury offer to the international arts coffee, espresso and espresso based community. This year also brings a very special alignment with drinks at a dedicated bar in the VIP the Chicago Architecture Biennial and the inaugural satellite Collectors Lounge. exhibition of the Palais de Tokyo in the United States. I commend everyone working with EXPO CHICAGO for being at the forefront of visual arts and the advancement of creativity. As home to one of the country’s largest, oldest and most estab- lished arts communities, Chicago hosts an abundance of exciting events highlighting a diverse array of artistic mediums – music, dance, performance and literary arts – drawing people from near and far to delight in these intriguing displays of talent. From our public art and architectural landmarks to our independent artists, to our world-class museums and cultural centers, art truly enhances the quality of life for residents and visitors alike. EXPO CHICAGO has helped place Chicago back on the map as an international arts destination and continues to elevate the arts profile of our city. I hope that those visiting our great city take time to experience some of the special places in Chicago. I invite you to sample our distinguished restaurants, take a stroll in our great public parks, and enjoy our iconic skyline and incredible lakefront during your stay. On behalf of the people of Chicago, please enjoy your visit to EXPO CHICAGO. Best wishes for an enjoyable event and much continued success. Sipsmith Gin will be serving classic and EXPOCHGO201 7 original gin cocktails at a dedicated bar, featuring small-batch London Dry Gin.CONNECT WITH US Rahm Emanuel Mayor, City of Chicago expochicago.com facebook.com/expochicago 17 @ expochicago @ expochicago

EXPOCHGO201 7 2017 Exhibitors18

Participating Galleries2017 EXHIBITORS Entering its sixth edition in 2017, EXPO CHICAGO presents artwork from 135 leading galleries, representing 25 countries and 58 cities from around the world.AKINCI, Amsterdam Paul Kasmin Gallery, New York Galeria Filomena Soares, Lisbon ROCKELMANN&, Berlin EXPOCHGO201 7Ameringer | McEnery | Yohe, Anton Kern Gallery, New York Sous Les Etoiles Gallery, New York Romer Young Gallery, Tina Kim Gallery, New York STANDARD (OSLO), Oslo New York KÖNIG GALERIE, Berlin Louis Stern Fine Arts, San FranciscoAnglim Gilbert Gallery, Alan Koppel Gallery, Chicago Catinca Tabacaru Gallery, Galerie Lelong & Co., West Hollywood San Francisco Allan Stone Projects, New York New YorkBERG Contemporary, Reykjavík New York, Paris MARC STRAUS, New YorkPeter Blake Gallery, Laguna Beach Lévy Gorvy, New York, London Hollis Taggart Galleries, New York EXPO PROFILEBortolami, New York Library Street Collective, Detroit Sundaram Tagore Gallery,Carpenters Workshop Gallery, Jane Lombard Gallery, New York Ceysson & Bénétière, London, Paris, New York Diana Lowenstein Gallery, Miami New York, Singapore, Hong Kong Saint-Étienne, Paris,CarrerasMugica, Bilbao Luhring Augustine, New York Tandem Press, Madison Luxembourg, New Yorkcasati gallery, Chicago Maccarone, New York, Templon, Paris, BrusselsCasterline|Goodman Gallery, Paul Thiebaud Gallery, GRIMM, Amsterdam Los Angeles Maruani Mercier, Brussels, Knokke Aspen Maison Gerard, New York San Francisco R & Company, New YorkDavid Castillo Gallery, Matthew Marks Gallery, Traywick Contemporary, Berkeley Royale Projects, Los Angeles Vallarino Fine Art, New York Miami Beach New York, Los Angeles Susanne Vielmetter Los Angeles EXPO Editions + BooksEdward Cella Art & Architecture, Maruani Mercier, Brussels, Knokke Los Angeles Mario Mauroner Contemporary Projects, Los Angeles Art+Culture Projects, New YorkCernuda Arte, Coral Gables Von Lintel Gallery, Los Angeles Boreas Fine Art, ChicagoJames Cohan, New York Art, Vienna, Salzburg Waterhouse & Dodd, New York Cahiers d’Art, ParisCONNERSMITH., Washington, DC McCormick Gallery, Chicago Weinstein Gallery, Minneapolis DOCUMENT, ChicagoCorbett vs. Dempsey, Chicago moniquemeloche, Chicago Zolla/Lieberman Gallery, Chicago Field Editions, LiverpoolGalerie de Bellefeuille, Montreal THE MISSION, Chicago Pavel Zoubok Gallery, New York Richard Gray Gallery, Chicago,Luis De Jesus Los Angeles, Gallery MOMO, Johannesburg, David Zwirner, New York, London New York Los Angeles Cape Town EXPOSURE Island Press, St. LouisCatherine Edelman Gallery, Anne Mosseri-Marlio Galerie, Other Criteria, New York, Curated by Justine Ludwig Chicago Basel London, Ilfracombegalerie frank elbaz, Paris, Dallas David Nolan Gallery, New York 313 Art Project, Seoul RENÉ SCHMITT, WOLFlowers Gallery, London, Gallery Wendi Norris, AA|LA, Los Angeles Spudnik Press Cooperative, Piero Atchugarry, Pueblo Garzón New York San Francisco Cardoza Fine Art, Houston ChicagoForum Gallery, New York Richard Norton Gallery, Chicago DITTRICH & SCHLECHTRIEM, Tate, LondonHonor Fraser, Los Angeles Claire Oliver Gallery, New York Whitechapel Gallery, LondonGagosian, New York, ONE AND J. Gallery, Seoul Berlin Karla Osorio Gallery, Brasília, Anat Ebgi, Los Angeles Special Exhibitions Los Angeles, San Francisco, Edel Assanti, London London, Paris, Rome, Athens, São Paulo FOLD, London Aperture Foundation, Geneva, Hong Kong Parrasch Heijnen Gallery, Fridman Gallery, New York New YorkHilario Galguera Gallery, joségarcía ,mx, Mexico City, Mexico City Los Angeles Artadia, New YorkGalerie Gmurzynska, New York Peres Projects, Berlin Merida Eli and Edythe Broad ArtGalerie Laurent Godin, Paris Perrotin, New York, Paris, Geary Contemporary, New YorkAlexander Gray Associates, Grice Bench, Los Angeles Museum, East Lansing New York Hong Kong, Seoul, Tokyo Gerhard Hofland, Amsterdam Chicago Artists Coalition,Richard Gray Gallery, Chicago, Galerija Gregor Podnar, Berlin Charlie James Gallery, New York Praz-Delavallade, Paris, ChicagoGarth Greenan Gallery, New York Los Angeles The Chicago CommunityGRIMM, Amsterdam Los Angeles Kimmerich, BerlinKavi Gupta, Chicago PROYECTOSMONCLOVA, KLOWDEN MANN, Los Angeles Trust, ChicagoHackett Mill, San Francisco Harlan Levey Projects, Brussels The Conservation Center,HDM Gallery, Beijing, Hangzhou Mexico City David Lewis, New YorkRichard Heller Gallery, R & Company, New York MARSO, Mexico City Chicago  Los Angeles ANDREW RAFACZ, Chicago Meliksetian | Briggs, Los Angeles Tamar Dresdner Art ProjectsNancy Hoffman Gallery, New York RONCHINI, London Moskowitz Bayse, Los AngelesRhona Hoffman Gallery, Chicago rosenfeld porcini, London Shulamit Nazarian, Los Angeles + Food Tank NGOThe Hole, New York Salon 94, New York Night Gallery, Los Angeles Human Rights WatchEdwynn Houk Gallery, Sapar Contemporary, New York NOME Gallery, Berlin Hyde Park Art Center, Chicago New York, Zürich EDUARDO SECCI, Florence Officine dell’lmmagine, Milan Natural Resources DefenseMARIANE IBRAHIM, Seattle Carrie Secrist Gallery, Chicago ROBERTO PARADISE, San JuanJenkins Johnson Gallery, William Shearburn Gallery, PATRON, Chicago Council (NRDC), Chicago San Francisco, New York PUSHKIN & GOGOL, Berlin The Renaissance Society, Chicago  St. Louis The School of the Art Institute Jessica Silverman Gallery, of Chicago, Chicago San Francisco ShopColumbia, Chicago  SIM Galeria, Curitiba Threewalls, Chicago  Sims Reed Gallery, London University of Chicago, Chicago  6018North/ 3Arts, Chicago List as of August 2017 19

/DIALOGUES Presented in partnership with the School of the Art Institute of Chicago (SAIC), /Dialogues offers panel discussions, conversations and provocative artistic discourse with leading artists, curators, designers and arts professionals on the current issues that engage them. Valerie Cassel Oliver Sarah Douglas David Hartt Flavin Judd Photo by Martien Mulder THURSDAY, SEPTEMBER 14 FRIDAY, SEPTEMBER 15 VISIBILITY | INVISIBILITY ART & ARCHITECTURE SYMPOSIUM SCULPTURE IN EVERYDAY SPACE A curated component of the full /Dialogues program, the second Nina Beier (Artist, STANDARD (OSLO)), Tom Burr (Artist, Bortolami). annual Symposium features a day-long series of discussions and Moderated by Stephanie Cristello (Director of Programming, EXPO discourse surrounding the intersecting fields of art and architecture. CHICAGO and Editor-in-Chief, THE SEEN) SUPERDESIGN: CONVERSATIONS AT THE EDGE: RADICAL ITALIAN DESIGN 1965–1975 EXPO VIDEO — THESE RESTLESS TIMES Lapo Binazzi (Artist and Architect), Gianni Pettena (Artist and Architect), Stanya Kahn (Artist, Susanne Vielmetter Los Angeles Projects) in conver- Francesca Molteni (Film Producer) and Maria Cristina Didero, (Indepen- sation with Ali Subotnick (2017 EXPO VIDEO Curator and Adjunct Curator dent Curator). Presented in partnership with CULTURED magazine | Hammer Museum). Presented as part of Conversations at the Edge (CATE) through the Film, Video, and New Media Department at SAIC ARCHITECTURE AS METAPHOR: NATURE VS. CULTURE CURATORIAL FORUM PRESENTS — OUT OF David Hartt (Artist, Corbett vs. Dempsey, David Nolan) in conversation BODY: BLACK IDENTITY IN ABSTRACTION with Felix Burrichter (Editor-in-Chief, PIN—UP Magazine). Presented in Co-presented with Independent Curators International (ICI) partnership with the Graham Foundation Valerie Cassel Oliver (Senior Curator, Contemporary Arts Museum Houston) and Naomi Beckwith, (Marilyn and Larry Fields Curator, MAKE NEW HISTORY: Museum of Contemporary Art Chicago). Moderated by Romi Crawford PHOTOGRAPHY IN THE EXPANDED FIELD OF ARCHITECTURE (Visual Critical Studies and Liberal Arts Associate Professor, SAIC) Adam Caruso (Caruso St John Architects, London | Zürich), Thomas Demand (Artist, Matthew Marks), Florian Idenburg (SO—IL, New ART CRITICS FORUM — CRITICISM IN THE York) and Luisa Lambri (Artist, Luhring Augustine). Moderated by POST-TRUTH ERA Jesús Vassallo (Architect and Writer). Presented in partnership with Ana Bilbao (Editor, Afterall),Sarah Douglas (Editor-in-Chief, ARTnews), the Chicago Architecture Biennial Kevin McGarry (Freelance Critic). Moderated by Christian Viveros-Fauné (Critic, Artnet). Presented in partnership with Virgin Hotels Chicago RESISTANCE AND NECESSITY: LANGUAGE IN ART AND ARCHITECTUREEXPOCHGO201 7 Flavin Judd (Curator and Co-President, Judd Foundation) and Sarah Herda (Director | Graham Foundation). Moderated by Julian Rose (Senior Editor, Artforum). Presented in partnership with the Department of Architecture, Interior Architecture, and Designed Objects at the School of the Art Institute of Chicago20

ProgrammingLa Stampa Sarah Thornton Sheikha Hoor Al Qasimi Michael RakowitzPhoto by Jens Ziehe Photo by Beryl Bevilacque Photo by Nato WeltonSATURDAY, SEPTEMBER 16 SUNDAY, SEPTEMBER 17IN/SITU — CHRONOPOLITICS GLOBAL ART GEOGRAPHIESSelect artists in conversation with Florence Derieux Sheikha Hoor Al Qasimi (President and Director, Sharjah Art Foundation)(2017 IN/SITU Curator) THE HOSPITALITY OF VIOLENCECULTURAL CARGO Michael Rakowitz (Artist, Rhona Hoffman Gallery) in conversationPaola Pivi (Artist, Perrotin) in conversation with with Omar Kholeif (Manilow Senior Curator, Museum of ContemporarySarah Thornton (Writer and Sociologist of Culture) Art Chicago)ART CRITICISM AND ROCK & ROLLJan Verwoert (Critic and Author), Jörg Heiser (Author),and Ian Svenonius (Musician and Writer) EXPOCHGO201 7 21

IN/SITU CHRONOPOLITICS CURATED BY FLORENCE DERIEUX Installed within the vast vaulted architecture of Navy Pier, the IN/SITU program provides exhibiting galleries the opportunity to showcase large-scale installations and site-specific works by leading international artists represented by 2017 Exhibitors. PARTICIPATING ARTISTS SANFORD BIGGERS DAN PETERMAN On April 22, 1922, a heated debate took place at the French Society moniquemeloche, Chicago Rhona Hoffman Gallery, of Philosophy in Paris between the philosopher Henri Bergson and Chicago physicist Albert Einstein about the nature of time. Famously, the latter TOM BURR put forward the two ways that time could solely be understood—phys- Bortolami, New York LARA SCHNITGER ically and psychologically—and contradicted Bergson’s thesis on the Anton Kern Gallery, New York possibility of a third dimension, of experiencing time philosophically. ALEX CHITTY This quarrel marked a rupture, embodying an important moment of PATRON, Chicago HIROSHI SENJU transformation between the conception and notion of time. Since this Sundaram Tagore Gallery, moment, the perception of time has been the subject of ideological BETHANY COLLINS New York, Singapore, discourse. However, it is space rather than time that is most often PATRON, Chicago Hong Kong associated with the term ‘politics.’ NATE LOWMAN TROIKA While the mention of geopolitics has largely dominated in the Maccarone, New York, (CONNY FREYER, EVA realm public debate, the term chronopolitics, or the politics of a Los Angeles RUCKI, SEBASTIEN NOEL) time, remains a marginal and rarely used expression. Its potentials Anne Mosseri-Marlio Galerie, refer to the role played by time within our societies—viewed instead LAVAR MUNROE Basel through the lens of social change. Art is an essential factor of this Jenkins Johnson Gallery, change. Politics, which is often described as an “art of the necessary,” San Francisco, New York WANG DU is a matter of time. Galerie Laurent Godin, Paris MANISH NAI As with Foucault, who outlined the many possibilities offered by Kavi Gupta, Chicago art to construct other times—not only to question history, but also to invent different futures—the artists featured in Chronopolitics share an approach to the role and impact of its measure on our contempo- rary social, political, and cultural structures. Using a wide range of mediums—from painting, sculpture, installation, and textile works, to performance—the 2017 IN/SITU program explores the idea of time in various ways. Evoking terms such as immediacy, instantaneity, simultaneity, ubiquity, imminence, permanence, impermanence, chance, probability, memory, remembrance, these artists’ works question the temporal conditions, or episodes, that disturb our traditionally linear understanding of time and progress. In doing so, they allow us to experiment, evaluate, imagine, and reimagine our own relation to the real. —Florence DerieuxEXPOCHGO201 7 Installation view, Sanford Biggers: Subjective Cosmology, Museum of Contemporary Art Detroit, 2016. Image courtesy of the artist and Monique Meloche Gallery, Chicago. Photo credit: Museum of Contemporary Art Detroit.22

Programming EXPO VIDEO THESE RESTLESS TIMES CURATED BY ALI SUBOTNICK EXPO VIDEO highlights a selection of dynamic and cutting-edge film, video, and new media works by artists selected from 2017 Exhibitors.PARTICIPATING ARTISTSSTANYA KAHN Instability. Unease. Fear. Dismay. Angst. Anxiety. Anger. Malaise. These areSusanne Vielmetter Los Angeles Projects, just a few of the increasingly normal, everyday emotional and mental states inLos Angeles America, Europe, and beyond. Mixing these universal feelings with personal biography, artists Stanya Kahn and Erik van Lieshout create deeply relevantArms are Overrated (2012) and provocative works that are both of our time, and timeless. Both artistsDon’t Go Back to Sleep (2014) achieve a delicate balance between the personal and political, public andStand in the Stream (2011–2017) private, drama and comedy by asking questions, eliciting contemplation, and potentially instilling hope or some sort of empathy in viewers. Their deeplyERIK VAN LIESHOUT moving, often hilarious, videos connect to the human condition on a visceralAnton Kern Gallery, New York level, so we feel a little less alone. These unstable and shifting politicalEgo (2013) situations recur over and over in our current climate—seeing them reflectedBasement (2014) through a personal lens provides fresh insight, and yet connects to the historyDie Insel (2016) of this endlessly repeating cycle of chaos, change, upheaval, and rebellion. Making art is a form of protest, a political act, and without heavy-handedGUTHRIE LONERGAN didactics or proselytizing, both Kahn and van Lieshout effectively engageHonor Fraser, Los Angeles viewers in their own activism. Kahn’s video Don’t Go Back to Sleep (2014) pres- ents an apocalyptic scenario with a group of strangers all outfitted in uniform9 Short Music Videos (2005) hospital scrubs as they go into survival mode, inhabiting an empty house in a world destroyed by mysterious outside forces. Her most recent piece, Stand in the Stream (2011–2017) follows the artist coping with her mother’s deteriora- tion as she slips into dementia, while also reflecting on recent riots and politi- cal protests, as well as individuals making personal connections in cyberspace. These deeply stirring films document the recent shifts in society and how we communicate and relate to one another, both at home and in the world at large. Kahn’s shorter, and more lighthearted pieces, such as Arms are Over- rated (2012), follows the musings of characters (made of crumpled up paper) reminiscent of the loveable, cranky balcony Muppets, Statler and Waldorf. In van Lieshout’s video, Ego (2013) the artist delves into his complicated relationship with his immediate family. Like Kahn, he uses his personal history to explore societal issues and human relations. Basement (2014) documents van Lieshout’s project for Manifesta 10 in St. Petersburg, Russia in which heStanya Kahn, Stand in the Stream, 2011–2017. HD color video created a home for stray cats living in the cellar of the Hermitage. The ab-stereo sound. 60 minutes and 24 seconds. Courtesy of the artist surd scenario reflects on the social and political aspects of the contemporaryand Susanne Vielmetter Los Angeles Projects. © Stanya Kahn situation, as well as the history of the museum and role of the felines in the pre-Soviet Russian empire. For his recent film Die Insel (2016), van Lieshout focuses on a lake that has been recently gentrified and transformed into anatural wilderness and recreation facility, surrounded by neo-modernist villas for the nouveau riche. In classic van Lieshout style, thevideo documents his irreverent confrontations with increasingly annoyed civil servants as he asks questions to expose the complications EXPOCHGO201 7of the situation. Exploiting the humor and absurdity of contemporary life, politics, culture, and the role of the artist, both Kahn and vanLieshout excel at creating achingly honest, witty works that speak to existential questions and the human condition. Punctuating the video program, Guthrie Lonergan’s 9 Short Music Videos (2005) reflects our increasing reliance on digital technologyto dictate our lives and routines. Using the default sounds such as ring tones and email alerts, Lonergan creates music videos to accom-pany the noises that have infiltrated our lives and become as familiar as a doorbell or car horn.—Ali Subotnick 23

IN/SITU OUTSIDE IN/SITU Outside provides the opportunity for EXPO CHICAGO Exhibitors to present temporary public art installations situated along the Lakefront and throughout Chicago neighborhoods, presented in partnership with the Chicago Park District (CPD), the city of Chicago’s Department of Cultural Affairs and Special Events (DCASE), and Navy Pier. PARTICIPATING ARTISTS Chicago Park District Public Art Installations DANIEL BUREN EWERDT HILGEMANN HERB ALPERT INDIRA JOHNSON Attrape-soleil (2013), Bortolami Habakuk (homage to Max Ernst) (2014) Spirit Totems (2010–2012), 10,000 Ripples (2012), LOCATED ON CHICAGO’S Borzo Gallery and The Mayor Gallery Courtesy of the Artist Courtesy of the Artist and and MUSEUM CAMPUS LOCATED ON CHICAGO’S LOCATED AT THE FIELD MUSEUM Changing Worlds MUSEUM CAMPUS SOUTH STEPS PLAZA LOCATED SOUTH OF DIVERSEY AT MARK DI SUVERO LAKESHORE DRIVE ROGER HIORNS TOM FRIEDMAN Magma (2008) and Destino (2003) INDIRA JOHNSON Paula Cooper Gallery A retrospective view of the pathway Looking Up (2015), LOCATED AT QUEEN’S LANDING (2008–17), Luhring Augustine Luhring Augustine Gallery 10,000 Ripples (2016), Courtesy of the and EAST OF LAKESHORE DRIVE / LOCATED AT POLK BROS PARK, LOCATION 4700 SOUTH Artist and Changing Worlds 53RD STREET NAVY PIER LAKESHORE DRIVE LOCATED JUST EAST OF THE IOWA BUILDING, NORTH OF MUSEUM ISA GENZKEN BERNAR VENET JOHN HENRY OF SCIENCE AND INDUSTRY Two Orchids (2015) Disorder: 9 Uneven Angles (2015) Chevron (2007), Novak Construction ROBERT LOBE David Zwirner and Paul Kasmin Gallery LOCATED AT DIVERSEY Galerie Daniel Buchholz LOCATED AT CONGRESS PARKWAY HARBOR INLET Eastern Hophornbeam (1992) LOCATED AT BUCKINGHAM AND COLUMBUS DRIVE and Nature’s Clock (2006), FOUNTAIN PLAZA JIM HODGES Rhona Hoffman Gallery LOCATED EAST OF MCCORMICK With Liberty And Justice For All (A work PLACE AT BURNHAM HARBOR INLET in progress), Courtesy of the Artist and NORTH EAST SOLDIER FIELD PRESENTED ON CTA BUSES – CHICAGO LOOP Roger Hiorns, A retrospective view of the pathway, 2008-17, Foam, compressor,EXPOCHGO201 7 and stainless steel tanks, Dimensions variable. Installation view Navy Pier, Chicago. Courtesy Luhring Augustine. Photo Credit: Heidi Zeiger Photography.24

Programming EXPOSOUND OVERRIDECURATED BY DAATA EDITIONS A BILLBOARD PROJECT The inaugural EXPO Sound program, curated by Daata Presented by EXPO CHICAGO in partnership with the Editions, launches new artworks by select international artists, City of Chicago’s Department of Cultural Affairs and Special Events installed throughout the public speaker system at Navy Pier, (DCASE) and the City of Chicago. Displayed on the and on the /Dialogues Stage inside the exposition hall. network of 29 sites throughout Chicago’s City Digital NetworkPARTICIPATING ARTISTS (CDN), OVERRIDE runs from August 28–September 17, 2017 to align with the sixth annual exposition. PARTICIPATING ARTISTSLARRY ACHIAMPONG HANNAH PERRY BARBARA BLOOM DEANA LAWSONdaata editions daata editions David Lewis Gallery, New York Rhona Hoffman Gallery, ChicagoTRACEY EMIN CHERYL POPE MATTHEW BRANDT PAOLA PIVIdaata editions moniquemeloche, Chicago Praz-Delavallade, Perrotin, New York, Hong Kong, Paris, Los Angeles Seoul, TokyoLEO GABIN XAVIERA SIMMONS LUIS CAMNITZER DAVID SHRIGLEYdaata editions David Castillo Gallery, Miami Alexander Gray Associates, New York Anton Kern Gallery, New YorkJARED MADERE NICK VAN WOERT GENEVIEVE GAIGNARD CAULEEN SMITHDavid Lewis Gallery, New York GRIMM, Amsterdam and PATRON, Chicago Shulamit Nazarian, Los Angeles Corbett vs. Dempsey, ChicagoRASHAAD NEWSOME JIM HODGES CLAIRE TABOURETdaata editions Chicago Park District Night Gallery, Los Angeles RAGNAR KJARTANSSON MUNGO THOMSON Luhring Augustine, New York galerie frank elbaz, Paris, DallasTracey Emin, You Must Have Hope, 2016 (courtesy the artist and Daata Editions) EXPOCHGO201 7 25

EXPO ART WEEK SEPTEMBER 11-17, 2017 EXPO ART WEEK With the exposition as its centerpiece, EXPO ART WEEK partners with the city’s most prestigious institutions to feature select aligned programming, including museum exhibitions, gallery openings, artist talks, public art projects, open studios, and outdoor installations. Concurrent Museum & Institution Exhibitions The Art Institute of Chicago Senga Nengudi: Reva and David Logan National Museum of Improvisational Gestures Center for the Arts Mexican Art Past Forward: Architecture and Design at the Art Institute The Richard H. Driehaus Cinthia Marcelle and Tiago Mata West Kings Highway: Color Studies Museum Machado: Divine Violence The Work of Cesar A. Martinez Along the Lines: Selected Placemaking & Landmarks - Drawings by Saul Steinberg L’Affichomania: The Passion for Loyola University The Creation of Mexican Cauleen Smith: Human_3.0 French Posters Museum of Art Spaces in Chicago Reading List DuSable Museum of Susan Aurinko: Searching for Nuestras Historias: Stories Fischli/Weiss: Snowman African American History The Photographer’s Curator: Jehanne — the St Joan of Arc Project of Mexican Identity from the Jeffrey Wolin: Pigeon Hill: Permanent Collection Hugh Edwards at the Art A Place for All People: Introducing Then and Now Institute of Chicago the National Museum of African Michelle Murphy: Neubauer Collegium Leigh Ledare: The Plot – American History and Culture Responsive Beauty for Culture and Society Ruttenberg Contemporary DuSable Masterworks Collection: Beam It Out/Bring It In Terence Gower: Havana Photography Series Series I: Paintings Case Study Steve McQueen: End Credits Freedom, Resistance and Nathan Manilow The Journey Toward Equality Sculpture Park Palais de Tokyo | The Sullivan Galleries Chicago: A Southern Exposure Don’t Tread on Me: Singing Stones at the School of the Art Project Respect Sculpture by Chakaia Booker Curated by Katell Jaffrès Institute of Chicago Elmhurst Art Museum Millennium Park Featuring Wilfrid Almendra, Daniel G. Baird, Floating Museum, Apichatpong Weerasethakul: Serenity of Madness Hebru Brantley: Forced Field Chakaia Booker Dorian Gaudin, Lola Gonzàlez, New Work: Recent work by Wesley R. Baker: American Images Bouchra Khalili, Guillaume Leblon, current students Gallery 400 at the John David Mooney Florian Pugnaire & David Raffini, University of Illinois Foundation Cauleen Smith, Thomas Teurlai, The Arts Club of Chicago at Chicago Raphaël Zarka, and Andrew Art and Science – Catching the Schachman Roman Ondák: : Man Walking Equinox Streaming Live from toward a Fata Morgana Let Me Be an Object That Screams Santiago de Campostela at The Roundhouse at the Amanda Williams: Uppity Negress Albert I. Goodman Collection of DuSable Museum of African Vietnamese Art American History Graham Foundation Mary and Leigh Block David Hartt: in the forest Mooney’s Watercolors En Plein Air Museum of Art at Hyde Park Art Center Art in Public Spaces The Ed Paschke Art Center Northwestern University Ed Paschke: Visionary from Carrie Mae Weems: Front & Center Museum of Contemporary Chicago, 1968-2004 Ritual and Revolution Virtue of the Vicious Art Chicago Wall of Now: Children of the Wall Takashi Murakami: The Octopus The Peninsula Chicago Chicago Architecture Materials Decoded and Salon94 Eats its Own Leg Biennial Iceberg Projects Chicago Works: Amanda Williams Gaetano Pesce MCA 50 Screen: To The Racy Brink Make New History, ArtisticEXPOCHGO201 7 Directors Sharon Johnston and Dani Leventhal and Sheilah Wilson: Michael Rakowitz: Backstroke of The Renaissance Society at Mark Lee Stack for Carrington’s Hyena the West The University of Chicago Chicago Artists Coalition Intuit: The Center for We Are Here Jennifer Packer: Tenderheaded Intuitive and Outsider Art Little Lower Layer The ANNUAL 2017: The Shortest Woman with a Camera SMART Museum of Art Distance Between Two Points Henry Darger’s Orphans Emmanuel Pratt: Radical and the Construction of Race Museum of Contemporary [Re]Constructions DePaul Art Museum Darger + War Photography at Columbia Revolution Every Day Ângela Ferreira: Zip Zap Mark Francis: Sculptures from College Chicago The Hysterical Material26 and Zumbi the Inside re:collection Jayna Zweiman: Welcome Blanket

Roman Ondak: Man Walking toward a Fata Morgana 12 September - 9 December 2017SEPTEMBER 23, 2017–MARCH 11, 2018 Roman Ondak, Escape Circuit, 2014 (detail). Found and modified metal and wood cages. Overall dimensions 77 x 510 x 295 cm. Courtesy the artist and kurimanzutto, Mexico City. Photo©Diego Perez 201 East Ontario Street www.artsclubchicago.org Chicago, Illinois 60611 [email protected] 312.787.3997 @artsclubchicagoblockmuseum.northwestern.edu ©Burk Uzzle EXPOCHGO201 7 27

BY ,PARIS Spudnik Press Cooperative PATRONAN EXHIBITION PRESENTED AS PART OF THE OFF-SITE PROGRAMME OF Cassie Thompkins: A Revision of Nick van Woert PALAIS DE TOKYO / INSTITUT FRANÇAIS Everyday Life ANDREW RAFACZ Thompson Chicago John Knuth: Lake of Fire Takashi Murakami Morgan Blair, Kate Klingbeil, Caroline Larsen Ukrainian Institute of Modern Art Carrie Secrist Gallery Domestic Disturbances Anne Lindberg: walking as I standOpening Reception Vista Sales Gallery Zolla/Lieberman GalleryTuesday, September 12, 2017Exhibition The Art Collection: work by Lisa Corinne DavisSeptember 13–October 29, 2017 Andrew Holmquist, Carrie Phyllis Bramson Secrist Gallery; Ben Murray,The Roundhouse at the DuSable Museum of moniquemeloche; Claire Sherman, Monday,African American History | 740 E 56th Pl Kavi Gupta Gallery; Curtis Mann, September 11 Kavi Gupta Gallery; and Judy Ledgerwood, Rhona Hoffman Purely Conceptual Gallery. In partnership with Magellan Development Group Boreas Fine Art and EXPO CHICAGO. Opening Reception | 6:00-9:00pm This exhibition explores the strong Wabash Arts Corridor and direct connections between Conceptual Art and the art of STREET LEVEL: Wabash Arts the book. Purely Conceptual will Corridor 2nd Annual Public Art feature work of artists from the Festival Tour nascent conceptual movement in the late 1960s and early 1970s, American Writers Museum such as Yoko Ono, Mel Bochner, and Sol LeWitt, as well as work The Beat Journey: Jack Kerouac’s made by conceptual artists “On the Road” working today. Palm: All Awake in the Darkness Tuesday, Exhibiting September 12 Chicago Galleries Past Forward: Architecture Corbett vs. Dempsey and Design at the Art Institute; Color Studies Small Sculpture Orion Martin The Art Institute of Chicago Exhibition Openings DOCUMENT 10:30am – 5:00pm Julien Creuzet Laura LetinskyParticipating Artists Richard Gray Gallery Roman Ondák: Man Walking toward a FataWILFRID ALMENDRA FLORIAN PUGNAIRE & Jaume Plensa (2044 W Carroll Ave) MorganaDANIEL G. BAIRD DAVID RAFFINIFLOATING MUSEUM CAULEEN SMITH Kavi Gupta The Arts Club of ChicagoDORIAN GAUDIN THOMAS TEURLAI Opening ReceptionLOLA GONZÀLEZ RAPHAËL ZARKA José Lerma: Nunquam Prandium 6:00 – 8:00pmBOUCHRA KHALILI and with Liberum and Gerald WilliamsGUILLAUME LEBLON ANDREW SCHACHMAN (219 N Elizabeth St) Carrie Mae Weems: Glenn Kaino: Sign Ritual and RevolutionEXPO CHICAGO, The International Exposition of Contemporary (835 W Washington Blvd)& Modern Art, is pleased to initiate an official partnership with the Mary and Leigh Block MuseumPalais de Tokyo as part of their first US-based off-site exhibition Rhona Hoffman Gallery of Art at Northwestern Universitywith the Institut français running concurrently through the Chicago Exhibition Opening |Architecture Biennial (September 16–December 31). Curated by Nathaniel Mary Quinn: 10:00am – 5:00pmthe Palais de Tokyo’s Katell Jaffrès, the exhibition brings together 11 Nothing’s Funny Composed of 18 diaphanousemerging artists from both the French and Chicago art scenes at The James Wines: Arch-Art: printed cloth banners organizedRoundhouse—a 17,000 sq. ft space built in 1881 and designed by A Conduit for Context, in architectural formation withBurnham & Root—on The DuSable Museum of African American Drawings for Site a poetic audio track, Ritual andHistory campus. Revolution explores the historic McCormick Gallery human struggle for equality and justice. This installation, including Anna Kunz: Yellow Pinto references to the Middle Passage, the French Revolution and World THE MISSION War II is a 2016 gift to the Block Museum collection. Susan Giles and Jeroen Nelemans: Swipe, Sweep, Flick, Fold Tony Lewis moniquemeloche Shane Campbell Gallery Opening Reception | 4:00 – 7:00pm Karen Reimer Nate Young Amanda Williams

Modern & Contemporary assumptions about figuration and CITY-WIDE GALLERY OPENINGSArt and Luxury Preview abstraction. Established in 2006 by a generous gift from Bill and Art AfterHeritage Auctions Stephanie Sick, this distinguishedOpening Preview visiting professorship enables Hours.10:00am – 5:00pm internationally renowned artistsVisit Heritage Auctions at 215 and designers to visit and teach at Friday,September 15West Ohio Street to preview SAIC. All of SAIC’s Visiting Artists 6:00–9:00 pmhighlights from the upcoming Program lecture events are freeModern & Contemporary Art and open to the public. Visit  Various Locationsand Luxury auctions. saic.edu/vap for details. A highlight of EXPO ART WEEK, Art After Hours welcomes EXPOTerence Gower: Emmanuel Pratt: Radical CHICAGO visitors to view citywide galleries during extended hoursHavana Case Study [Re]Constructions on Friday, September 15, 6:00 – 9:00pm, allowing a first-look at new exhibitions while experiencing the vibrant local art scene.Neubauer Collegium SMART Museum of Artfor Culture and Society Exhibition Opening *Denotes Opening ReceptionArtist Talk and Opening 10:00am – 5:00pmReception | 6:00 – 9:00pm Emmanuel Pratt’s interdisciplinary EXPO CHICAGO Galleries Participating in Art After Hours:This project by New York-based approach to regenerative place • Corbett vs. Dempsey | Small Sculpture; Orion MartinCanadian artist Terence Gower making on the South Side of • DOCUMENT | Julien Creuzet; Laura Letinskyis the second in a series of Chicago mixes art, architecture, • Catherine Edelman Gallery | Liat Elbling: Proposals for Disorderinstallations that use American and community and economic • Richard Gray Gallery | Jaume Plensadiplomatic architecture as a lens development. His new, site- • Kavi Gupta | José Lerma: Nunquam Prandium Liberumthrough which to analyze US specific installation transforms Gerald Williams; Glenn Kaino: Sign*international relations (the first is the Smart Museum’s lobby • Rhona Hoffman Gallery | Nathaniel Mary Quinn: Nothing’s Funny;Baghdad Case Study, 2012), and and courtyard.is based on extensive research James Wines: Arch-Art: A Conduit for Context, Drawings for Sitein Havana and in US archives. Wednesday, • McCormick Gallery | Anna Kunz: Yellow Pinto* September 13 • THE MISSION | Susan Giles and Jeroen Nelemans:Salon 2017 Nick Cave’s Swipe, Sweep, Flick, FoldThe Nevica Project Up Right Chicago • moniquemeloche | Karen Reimer; Amanda WilliamsOpen Hours | 11:00am – 6:00pm • PATRON | Nick van Woert*A group showing of renowned Navy Pier Aon Grand Ballroom • ANDREW RAFACZ | John Knuth: Lake of Fire*; Morgan Blair,artists such as Richard Serra, 9:00 – 10:00pmTheaster Gates, Cy Twombly, Navy Pier, in partnership with Kate Klingbeil, Caroline Larsen*Magdalena & Michael Frimkess, EXPO CHICAGO and the • Carrie Secrist Gallery | Anne Lindberg: walking as I stand*Peregrine Honig, Peter Voulkos, Chicago Architecture Biennial,Tara Donovan, Wes Mills, Neha will present a highly-anticipated Additional Art After Hours participants:Vedpathak, Sergei Isupov, Anna collaboration between renownedHepler, Ruth Duckworth and contemporary artist Nick Cave • ACRE Projects • Filter Photo • Spudnik Press EXPOCHGO201 7much more. and internationally-acclaimed Cooperative architect and MacArthur Fellow • ACS Gallery* • THE FRANKLINPalais de Tokyo | Jeanne Gang. Presented as part • Sullivan GalleriesSinging Stones of Cave’s Here Hear Chicago, • Jean Albano • Fulton Market of the School of Cave will present a series of live Gallery* Kitchen* the Art InstituteThe Roundhouse at the productions in which performers of Chicago*DuSable Museum of African interact and respond to a field • Anastasia Tinari • Fulton StreetAmerican History of dynamic, custom-fabricated Projects Collective • VGA GalleryOpening Reception objects, “Stage Buoys” designed8:00 – 11:00pm by Gang and her practice, • The Arcade • Glass Curtain • VolumeSinging Stones (September 12– Studio Gang. The performance Gallery*October 29), curated by the Palais series kicks off with Cave’s • Aspect/Ratio • Wabash Artsde Tokyo’s Katell Jaffrès, brings newest performance work, Up • Heritage Auctions Corridortogether 11 emerging artists from Right Chicago, where dressing • Andrew Bae Gallerythe French and Chicago art technicians prepare their mind, • Efrain Lopez Gallery • GALERIEscenes at The Roundhouse— body and spirit, transforming them • Bridgeport WATERTONa 17,000 sq. ft. space built in into warriors of their own destiny, Art Center* • John David Mooney1881 and designed by Burnham set to live music composed and Foundation* • Weinberg/& Root—at the DuSable Museum performed by jazz musician and • C33* Newton Gallery*of African American History in composer Kahil El’Zabar. • McCormick Gallery*Washington Park. Free and open • Shane Campbell • Westernto the public. Thursday, Gallery • Museum of Exhibitions September 14 ContemporarySAIC Visiting Artists • Canvas | Sub Photography • Workshop4200*Program Lecture: Superfluous: An Chroma*Laura Owens Architectural Project • Pavilion Antiques • Zg Gallery • DePaul Art MuseumBill & Stephanie Sick Alliance Francaise de Chicago • Paris LondonDistinguished Visiting Professor Vernissage | 6:30pm • Elephant Room Hong KongThe Art Institute of Chicago, Oh, unforeseen utility of the GalleryRubloff Auditorium | 6:00pm superfluous! Charity of great • Roots & CultureLos Angeles-based artist things! Goodness of giants!Laura Owens is internationally Based on Les Misérables by 29renowned for her innovativeapproaches to painting. Formore than 20 years, she haspioneered experimental workthat challenges traditional

Press & Professional Preview:EXPOCHGO201 7 Victor Hugo, this architectural Open House Contemporary, September 14 & 15, 2017 project investigates shelter Infinite Games invites over 40 September 16, 2017 – January 7, 2018 and homelessness. The local, national, and international exhibition includes 11 designs artists to produce work in Chicago Cultural Center by the Architecture & Interior response to and from materials 78 E Washington St, Chicago, IL 60602 Architecture students of Odile salvaged from 50 Chicago public Compagnon at the School of the schools closed in 2013. The Chicago Architecture Biennial is the largest architecture Art Institute. and design exhibition in North America, showcasing the Revolution Every Day; transformative global impact of creativity and innovation Floating Museum The Hysterical Material in these fields. This year’s Biennial addresses the theme “Make New History.” Artistic Directors Sharon Johnston Navy Pier Polk Bros Park SMART Museum of Art and Mark Lee have selected over 141 practitioners whose Public Opening | Accessible Exhibition Opening | eye-opening creations will invite the public to explore during Navy Pier operating hours. 10:00am – 5:00pm how the latest architecture can and will make new history Floating Museum is a collaborative in places around the world. The main exhibition at the arts organization that creates Friday, Chicago Cultural Center is free and open to the public from temporary, site-responsive September 15 September 16, 2017 through January 7, 2018. museum spaces to activate sites The 2017 exhibition is amplified through six community of cultural potential throughout Art After Hours – anchor sites and two special project sites throughout Chicago’s neighborhoods. Floating Chicago Gallery Openings Chicago – plus installations, performances, talks, films and Museum engages local artists, more hosted by over 100 local and global cultural partners. historians, and organizations Extended Hours | 6:00 – 9:00pm For more information, visit chicagoarchitecturebiennial.org. in events that challenge A highlight of EXPO ART WEEK, traditional museum thinking and Art After Hours welcomes EXPO30 generate community engagement CHICAGO visitors to view city- and conversation. Presented by wide galleries during extended Navy Pier. hours, allowing a first-look at new exhibitions while experiencing David Hartt: in the forest the vibrant local art scene. A full listing of Art After Hours exhibi- Graham Foundation tions and events is available at Opening Reception | 6:00 – 8:00pm expochicago.com The Graham Foundation is pleased to present in the forest, Saturday, a newly commissioned multi-part September 16 installation by artist David Hartt. The exhibition revisits Moshe Make New History Safdie’s unfinished 1968 Puerto Rico Habitat project, transforming Chicago Architecture Biennial the Foundation’s turn-of-the- Public Opening century Madlener House galleries Main exhibition at the Chicago with a film, a suite of photographs, Cultural Center with exhibitions, and a series of sculptures. programs, performances throughout the city. Jaume Plensa September 16 - January 7, 2018. Richard Gray Gallery Dani Leventhal and (2044 W Carroll Ave) Sheilah Wilson | Stack Opening Reception | 6:00 – 8:00pm for Carrington’s Hyena The exhibition surveys new sculpture by Barcelona-based Iceberg Projects artist Jaume Plensa. Opening Reception | 6:00 – 9:00pm Screening — History and Forgetting SUPERDESIGN: When Design Wanted to Industry of the Ordinary Change the World presented by the City of Chicago Hosted by Silent Funny Gene Siskel Film Center of Opening Reception | 2:00 – 9:00pm the School of the Art Institute Conceived and organized by of Chicago Industry of the Ordinary Showtime | 6:00pm (Adam Brooks and Mathew A film by Maria Cristina Didero Wilson), with Katinka Kleijn and and Francesca Molteni – 52min Lindsey French. On a concrete Directed by Francesca Molteni, shop floor, two workers construct presented by R & Company a flag from ice blocks, which, as Superdesign is a film about 19 it melts, washes away the dust, players of the Italian Radical oil, blood and sweat that has Design Movement. Through stained the floor over its many their words and their stories, years of use. As the flag passes we retrace the history and the into memory, the former life of the heritage of the movement. space it temporarily occupies will be remembered. Infinite Games Open House Contemporary Opening Reception 7:00 – 10:00pm Presented by John Preus and

EXPO ART WEEKDisplaced Desire mixed media works incorporate unfamiliar STREET LEVEL: Wabash Arts Corridor arrangements of low-grade consumer 2nd Annual Public Art Festival TourLVL3 goods thereby subverting conventionalOpening Reception | 6:00 – 10:00pm understanding of their utility while Wabash Arts CorridorLVL3 presents Displaced Desire, a two- commenting on the American Dream. 2:00pmperson show featuring Chicago-based Wabash Arts Corridor is the South Loop’sChristopher Meerdo and Brooklyn-based UChicago Architecture vibrant public arts program, known for muralsCecilia Salama. Displaced Desire calls to Biennial Shuttle that transform the city and the annual WACattention the isolation of their focus and Crawl convening over 100 partner events. Thetheir evaluation of something reimagined. Hosted by the University of Chicago 2017 festival, STREET LEVEL expands artist and 10:00am – 5:00pm, Tour at 1:00pm community inclusivity and features over a dozenMichael Rakowitz: The shuttles depart from the new murals and multimedia activations, plusBackstroke of the West Logan Center (915 E 60 St) a new performance series in partnership with on the hour. Threewalls. This guided tour features highlightsMuseum of Contemporary Art Chicago The UChicago Architecture Biennial of the corridor and previews the new works ofExhibition Opening | 10:00am – 5:00pm Shuttle will run on an hourly loop to STREET LEVEL. various sites of architectural activity andNick Cave’s HEARD Chicago speculation on and around the University’s Sunday, Hyde Park campus, including the new September 17Navy Pier Polk Bros Park Campus Residence Hall designed by1:00pm, 3:30pm Studio Gang; the Arts Block, envisioned Tour of SaviorHEARD Chicago is a production featuring a by Theaster Gates; the site for the Obamaherd of 30 colorful horses performing cho- Presidential Center in Jackson Park; VGA Galleryreographed movements accompanied by live and the campus’ landmark Mid-century 2:00 – 3:00pmmusic by jazz musician and composer Kahil buildings by Eero Saarinen and MiesEl’Zabar and the Chicago Children’s Choir. van der Rohe. Visitors can use the Open House: 1709 W Chicago GalleriesThe HEARD performers will interact with shuttle as a hop-on, hop off meansthe Jeanne Gang “Stage Buoys” created and to stop at various destinations, including Document, Paris London Hong Kong, Volume,designed specifically for the Cave produc- Palais de Tokyo | Singing Stones Western Exhibitions, David Salkin Creativetions. The performance is free to the public. at The Roundhouse at the DuSable 12:00 – 4:00pm Museum of African American History. The galleries of 1709 W Chicago invite you toNick Cave’s Soundsuits Reservations for tours recommended, an open house to visit their freshly built-out please visit arts.uchicago.edu/cab exhibition spaces, celebrating their recentNavy Pier Wave Wall relocation to Ukrainian Village.2:30pmAn activation of multiple performers Terence Goweradorned in Cave’s iconic Soundsuits thatare part sculpture, part costume, reflecting Havana Case Studyhis desire to meld art, dance and fashion.Jeanne Gang’s “Stage Buoys” will adorn thespace and setting. The performance is freeto the public.Nick Cave’s Here Hear Chicagoon ScreenNavy Pier Polk Bros ParkPerformance Lawn Stage5:00pmA film screening showcasing the creativeworld of Nick Cave. Lawn seating encouraged.Revolution Every Night — Featuring September 12 – December 15, 2017La Stampa and Ian F. Svenonius Artist talk and reception, September 12, 6-9pmSmart Museum of Art8:00pm Neubauer Collegium for Culture and SocietyThe Smart Museum of Art is pleased to The University of Chicagohost the official EXPO ART WEEK after-party. This free and open to the publiccelebration gives audiences a chance topreview the museum’s fall exhibitions.Revolution Every Night features live per-formances by La Stampa (ft. art critics JörgHeiser and Jan Verwoert and band membersJons Vukorep and Günter Reznicek) and IanF. Svenonius, with a welcome messagefrom Alison Gass, the Smart Museum’snewly appointed Dana Feitler Director.Jeffrey Teuton & Megan Stroech: neubauercollegium.uchicago.edu/exhibitions EXPOCHGO201 7If This is as Good as it Gets, ThenI Guess I’m Ok With That 31Stuart & Co. GalleryOpening Reception | 7:00 – 9:00pmIn collaboration with Rockelmann &, BerlinVisually articulating thought through shapeand color on canvas, Teuton filters collectedstories and images until what remainsare simple, quiet poetic acts. Stroech’s

A CONVERSATION WITH NORTHERN TRUST’S Sponsors Mac MacLellan Presenting Sponsor ‘Tis better to give than receive alti cibi Official Hotel Sponsor alti cibi Almost 10 years ago, the paint- alti cibi MAGAZINE ing you see here, Chicago by the alti cibi MAGAZINE Zhou Brothers, was gifted by the artists to Northern Trust’s Partners then-outgoing CEO Bill Osborn. It was a genuinely altruistic gift,EXPOCHGO201 7 Media Sponsors serving as a special thank you for Northern Trust’s support of Plus de 3cm the acclaimed artists’ return to their home country of China Moins de 3cm through a special exhibition. Art is a gift to us all, and not a day goes by that we don’t stop and marvel at the beauty of this work and the sentiment behind it. We proudly showcase Chicago in our Global Conference Center, and it remains a focal point in our corporate art collection. But imagine the complexities of accepting a gift such as this one. As a corporation, there were business-related and compliance discussions and emotional elements to address in advance of selecting that perfect spot to display it. Clients often come to us to discuss gifting their art or other collectibles. Gifting is a delicate process, fraught with intricacies, whether financial, emotional or logistical in nature. When clients ask us about gifting, it’s easy to see it from the perspective of the donor. It’s a feel-good moment, and we understand how important it is for them to pass their love of art and that special piece on to someone in a meaningful way. What’s often forgotten, however, is the beneficiary’s reaction. Many recipients are overwhelmed with the responsibilities, and many simply do not want it altogether. Taking time to talk to your beneficiaries about the treasured items you plan to share with them is of critical importance, and formalizing those plans with an advisor helps take the guesswork out of gifting and allows you to focus on the emotional benefits of giving the gift of art. Perhaps as you enjoy EXPO CHICAGO with friends and family, and maybe even your advisors, you’ll find a natural opportunity to discuss plans for your own collections, including that new piece you plan on adding this weekend. Mac MacLellan Executive Vice President Wealth Management Northern Trust32

Navy Pier is the People's Pier. And during EXPO Chicago & The Chicago Architectural Biennial, guestscan enjoy a range of free programs and performances as diverse as the city itself. Watch the rhythmand dance of world-renowned artist Nick Cave collide with the mind of legendary architect Jeanne Gang,in Nick Cave's Here Hear Chicago. Explore the architecture of the city through the photographer's lensat the exhibition, Lake Shore Vibe by architecture critic Lee Bey. Push the limits of your imaginationat an interactive installation of The Floating Museum. Or come back soon to experience the stage likenever before at The Yard, the Chicago Shakespeare Theater’s stunning new innovative theater openingthis fall. Come see it in a new light. www.navypier.comNavy Pier is grateful to the Polk Bros. Foundation Here Hear Chicago is supported by grantsfor their generous support and partnership. from the Chicago Free For All Fund at the Chicago Community Trust, Joyce Foundation, and Graham Foundation for Advanced Studies in the Fine Arts.

NOWAT THE MCATUESDAYS AREFREE FOR ILLINOISRESIDENTS!OPEN UNTIL 9 PM TAKASHI MURAKAMI: THE OCTOPUS EATS ITS OWN LEG Through Sep 24 MICHAEL RAKOWITZ: BACKSTROKE OF THE WEST Through Mar 4, 2018MUSEUM OF Takashi Murakami. Flowers, flowers, flowers, 2010. Acrylic and platinum leaf on canvasCONTEMPORARY ART mcachicago.org/now mounted on aluminum frame; 59 × 59 in. (150 × 150 cm). Collection of the Chang family,CHICAGO #mcachicago Taiwan. © 2010 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Michael Rakowitz, May the Arrogant Not Prevail, 2010. Found Arabic packaging and newspaper, glue, cardboard, and wood; 194 ¼ × 235 ¼ × 37 ½ in. (493.4 × 597.5 × 95.3 cm). Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange, 2015.4. © 2010 Michael Rakowitz. Photo: Nathan Keay, © MCA Chicago. Installation view, Michael Rakowitz, The worst condition is to pass under a sword which is not one’s own, Tate Modern, January–May 2010. © Michael Rakowitz. Photo © Tate Photography. Lead support for Takashi Murakami: The Octopus Eats Its Own Leg is provided by Kenneth C. Griffin, Helen and Sam Zell, Anne L. Kaplan, Cari and Michael Sacks, Galerie Perrotin, Stefan Edlis and Gael Neeson, Gagosian, Andrea and Jim Gordon, and Susan Gaspari-Forest and Robert Forest. Major support is provided by Blum & Poe and Liz and Eric Lefkofsky. Generous support is provided by The Bluhm Family Foundation, the National Endowment for the Arts, The Eli and Edythe Broad Foundation, Jennifer and Alec Litowitz, Kaikai Kiki Co., Ltd., ComplexCon, Adidas, Matt Bayer and Joyce Yaung and the Bayer Family Foundation, The Japan Foundation, Robert J. Buford, Marilyn and Larry Fields, Nancy Lerner Frej and David Frej, and Dana and Brian L. Newman.