Julia Friedman Gallery is pleased to present Eduardo Kac’s acclaimed artwork, Genesis, May 4 – June 2, 2001, the Gallery’s inaugural exhibition at 118 N Peoria, Chicago and online at www.juliafriedman.com. Genesis, Kac’s first solo exhibition will be comprised of several new artworks, seen for the first time.
The original Genesis artwork that gives this series its name is a transgenic net installation that explores the intricate relationship between biology, belief systems, information technology, dialogical interaction, ethics, and the Internet. The key element of Genesis is an “artist’s gene,” a synthetic gene created by translating a sentence from the biblical book of Genesis into Morse code, and converting the Morse code into DNA base pairs. The sentence reads: “Let man have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moves upon the earth.” This sentence was chosen for what it implies about the dubious notion–divinely sanctioned-of supremacy over nature. Morse code was chosen because, as the first example of the use of radiotelegraphy, it represents the dawn of the information age–the genesis of global communication. The “Genesis gene,” which is incorporated into glowing bacteria, is projected as live video in the gallery and streams over the Internet, where the public is encouraged to intervene and monitor the evolution of the work. Genesis has been exhibited at Exit Art, New York; Wood Street Gallery, Pittsburgh; O.K. Center for Contemporary Art, Linz; and Centro Cultural Itaú, São Paulo.
While some of the pieces in the Genesis exhibition focus on the “Genesis gene,” other artworks in the show explore the new protein produced by the synthetic gene: the “Genesis protein.” Kac is interested in reflecting on the multiple social implications of genetics, from the notion of “code” to the synthesis of genes, from potential abuse to its hopeful promises, from the metaphors employed by biotechnology to the fetishization of genes and proteins. In addition to the net installation, the following artworks will be part of the exhibition; Encryption Stones (etched granite stones), Transcription Jewels (small genie bottle with actual “Genesis gene” inside and gold protein cast of actual “Genesis protein”), Fossil Folds (etched granite stones), In Our Own Image (wall mounted video sculptures) and The Book of Mutations (portfolio of giclée prints).
Based in Chicago, Eduardo Kac has exhibited widely in the United States, Europe, and South America. Upcoming shows include: Electronic Maple (inaugural exhibition), NY Center for Media Arts, NY, opening May 3, 2001; Under the Skin, Biological Transformations in Contemporary Art, Lehmbruck Museum, Duisburg, Germany, opening May 6, 2001; Telematic Connections, Art Center College of Design, Pasadena, CA, opening May 12, 2001; and the Yokohama Triennale 2001, Japan, opening September 2, 2001.
A survey of works on paper by contemporary international artists
March 21 – April 26, 2003
Sigrid Sandström, Lil’ Ake, 2002, acrylic on vellum, 9′ x 18′
Originally from Stockholm, Sigrid Sandström creates vast and illusory landscapes. Through painting and collage Sandström describes a world encompassed by countless moons, glacial rock formations and fiery explosions. Her landscapes skillfully recall mythological and historical narratives and further embellish upon a number of grand pictorial references. For her Chicago premiere, Sandström is exhibiting a 18 ft. mural on vellum and a selection of collages. Sandström received her MFA at Yale University and has exhibited at The Contemporary Arts Museum, Houston, TX; Yerba Buena Center for the Arts, San Francisco, CA; Inman Gallery, Houston, TX; Olsson Gallery, Stockholm, Sweden; among other venues.
Jun’ya Yamaide, USA, 2003
Jun’ya Yamaide works with a range of media including installation, performance, drawing, sculpture, video and photography. His works often engage the public directly and investigate notions of identity, place, memory, and possession. For Paper Works, Yamaide presents new drawings in which he considers the role of constructed monuments in contemporary life. Yamaide has exhibited at the Palais de Tokyo, Paris, France; PS 1 Center for Contemporary Art, Long Island City, NY; Tokyo Opera City Art Gallery, Tokyo, Japan; Taipei Biennial 2000, Taiwan; and the Museum of Contemporary Art, Tokyo, Japan.
Nick Lowe, The Dwelling, 2003
Los Angeles based artist, Nick Lowe creates color pencil drawings and collage works that are obsessively detailed and notably bizarre. Referencing rap stars, rainbows, electric guitars and monkey men, Lowe generates work with boyish enthusiasm and imagination. With a keen devotion to pop culture as well as the natural world, Lowe’s drawings infuse the real with the extraordinary. Currently exhibiting in International Paper at UCLA Hammer Museum, Los Angeles, Lowe has recently exhibited at Jack Hanley Gallery, San Fransisco, CA and Black Dragon Society, Los Angeles, CA.
Ryan Scheidt, Sananaq, 2003
A recent graduate of the School of the Art Institute of Chicago, Ryan Scheidt creates paintings which allow methods of chance to determine the formal direction of his work. While the artist cleverly poses questions about the role of the artist and the process of art making, Scheidt’s technical proficiency merits a flawless exactitude that seems almost mechanical; creating fluid and flat surfaces that distinctly reference design, abstraction, and minimalism. Ryan Scheidt has recently exhibited at Maou Maou Gallery, Berlin, Germany; The University of Northern Iowa Gallery of Art, Cedar Falls, IA; The Contemporary Art Workshop, Chicago, IL; and Apt 1R, Chicago, IL.
Natalia Blanch, Silence, 2001
Natalia Blanch’s watercolors on paper explore the symbiotic nature of sound and image, as well as the transformation from ephemerality to physicality. Highly process-oriented, her work directly references acts such as prayer, chant, meditation, and ceremony. Blanch has exhibited at venues such as the Ex Teresa Center of Contemporary Art, Mexico City, Mexico; Ludwig Foundation of Cuba, Havana, Cuba; Emilio Caraffa Provincial Museum, Cordoba, Argentina; McDonough Museum of Art, Ohio; and Jorge Luis Borges Cultural Center, Buenos Aires, Argentina.
Jennifer Reeder, Untitled, 2003
Prominently recognized for video and installation work, Jennifer Reeder will be exhibiting several new drawings inPaper Works. Reeder’s intimate works on paper reveal awkward human relationships and vulnerable moments. Her small-scale collages and drawings present a refreshingly straight-forward commentary on personal relationships with the artist’s signature sarcastic humor. Jennifer Reeder has exhibited at several prestigious venues including the Whitney Biennial 2000, Whitney Museum of American Art, New York; Moderna Museet, Stockholm; TBA Exhibition Space, Chicago; Sara Meltzer Gallery, New York; Havana Biennale, Cuba; Stedlijk Museum, Amsterdam; and The 48th International Venice Biennale, Italy, amongst others.
John Parot, 2003 (Installation view)
John Parot’s drawings are at once nostalgic, sweet and tragic. In his work, romantic ideals face everyday defeats and frustrations. His brightly colored drawings incorporate intricate doodles and hand-crafted text, reminiscent of sketch book entries and diary professions. For Paper Works, Parot presents a new series of drawings depicting emotional peaks and valleys and looming psychedelic skies. John Parot has recently exhibited at Bellwether Gallery, Brooklyn, NY; Gallery 400, University of Illinois, Chicago, IL; and University Galleries, Illinois State University, IL.
Eduardo Kac, L’Animal, 2002
Eduardo Kac’s work focuses on the philosophical dimensions of communication processes, as manifested among and between humans, animals, machines, and different life forms. For Paper Works Kac will present a series of drawings which reflect on our closeness to the “animal other,” with humor and sensitivity. Eduardo Kac has exhibited in venues such as Exit Art, New York, NY; Museum of Modern Art, Rio de Janeiro, Brazil: 1st Yokohama Triennial, Japan; and 4th Saint Petersburg Biennial, Russia. Concurrent to Paper Works, Kac is exhibiting at Ronald Feldman Fine Arts, New York and Lieu Unique, Nantes, France.
Brigida Baltar, from the Bee House series, 2001
Brigida Baltar’s drawings, from her recent Bee House series, depict fleeting atmospheric moments in time. In this series, Baltar depicts the body as a beehive, a symbolic nesting domain. The artist’s figurative drawings harmonize sensory appeal with a fantastical, albeit ambiguous forms of story-telling. Brigida Baltar’s work was most recently exhibited at the Cleveland Center for Contemporary Art, OH; the 25th Sao Paulo Biennial, Brazil; The Spencer Brownstone Gallery, NY; Kampnagel Kultur Fabric, Hamburg, Germany; Museum of Modern Art, Rio de Janeiro, Brazil; Filomena Soares Gallery, Lisbon, Portugal; amongst others.
Sam Gordon, Untitled, 2001, 14 x 18″ (each)
New York based artist, Sam Gordon fuses craft techniques with traditional painting methods in his laborious works on paper. Combining stenciling, leafing, marbelizing, and tie dying, Gordon’s paintings are deeply textured and intricately developed. Incorporating archaic imagery, tantric emblems, mystical symbols, and contemporary iconography, Gordon’s works on paper lie comfortably between representation and abstraction. Gordon has exhibited at venues such as Exit Art, New York, NY; PS 1 Center for Contemporary Art, Long Island City, NY; Feature Inc., New York, NY; The Tang Teaching Museum and Art Gallery, Saratoga Springs, NY; and Yerba Buena Center for the Arts, San Francisco, CA.
Julia Friedman Gallery presents
SHU LEA CHEANG
GARLIC = RICH AIR
June 20 – August 2, 2003
Julia Friedman Gallery
118 N Peoria
Chicago, IL 60607 USA
T 312 455 0755
F 312 455 0765
Shu Lea Cheang’s most recent net-installation, Garlic = Rich Air will be featured at the Julia Friedman Gallery June 20 -August 2, 2003. The Gallery will be acting as a trading center, presenting Cheang’s work online as well as harvesting garlic bulbs outside of the gallery’s storefront space. Cheang’s Garlic = Rich Air large-scale installation will be exhibited at the 50th Venice Biennale and online at the Whitney Museum of American Art’s Artport, during the month of July.
Garlic = Rich Air, dated 2030, anticipates a post-capitalist society where the global economy and currencies have collapsed and network media has nearly crashed. The work envisions organic garlic as the new social currency – bought, sold, and traded to establish a new and free media trading system. Garlic = Rich Air sets forth a monetary relationship between URL information and virtual garlic. Visitors are invited to participate online at http://www.rich-air.com and submit various URL addresses in return for virtual garlic, “G”, as Cheang puts it. At the close of the Garlic market, virtual “G” is cashed in for real farm-grown organic garlic; a commodity that is desired and wholly revered in the year 2030. Prophesized as the new medium for global exchange, Cheang’s garlic/network media system proposes to develop lasting connections and nurture free exchange between physical and online communities.
Shu Lea Cheang has previously exhibited in two Whitney Biennials, Whitney Museum of American Art, New York; Taipei Biennale 2000, Taipei; Exit Art, New York; InterCommunication Center (ICC), Tokyo; Walker Art Center, Minneapolis; Palais de Tokyo, Paris; Wexner Center for the Art, OH; The Project, New York; and she created the Guggenheim Museum’s first web based art project, entitledBrandon.
For further information contact: Lisa Williamson, (312) 455 0755 or Info@juliafriedman.com.