Residual Marks

Chicago Artists Coalition is pleased to present Residual Marks, a dual exhibition curated by HATCH 2019-2020 residents Fabiola Tosi and Stephanie Koch.The exhibitions are presented under a shared conceptual framework of absence and emergence. What remains and what endures?

Residual Marks holds two duo exhibitions: Exuviae and Endurance and Emergence. Exuviae introduces new work by HATCH 2019-2020 artists-in-residence Naomi Elsonand Joshi Radin, curated by Fabiola Tosi; Endurance and Emergence features new work by HATCH 2019-2020 artists-in-residence Julia Klein and Salim Moore, curated by Stephanie Koch. Challenging traditional exhibition formats, the two shows are presented to the viewer in separate gallery spaces, while representing a conceptual conversation. The two projects can be alternatively read as independently curated or as a whole, providing a fluid approach to the interpretative process.

Residual Marks will be on view from June 25, 2021 through August 5, 2021, with an opening day on Friday, June 25. Please reserve your time here.

Exuviae is a balance of space and void, where physical absence and presence are equally represented by remnants of embodiments. The works of Joshi Radin and Naomi Elson are exuviae of bodies that conjure physicality through emptiness. In this exhibition, the colors from fabrics and found materials in Elson’s installations encounter the dramatically dark tones of Radin’s prints, creating the effect of a two-voices conversation happening in the gallery space. The two artists turn to the scale of the body in search of a deeper understanding of the self. Radin and Elson embark on a journey of inner-excavation, searching for answers to often existential questions among the fossils of what has been left behind.

Endurance and Emergence is a study of the stories we tell, how tracing their movement over time reveals a relation between their durability and our interventions. The processes of Julia Klein and Salim Moore establish points of origin in both cultural and material stories, followed by opportunities for new iterations to emerge. Through the construction of a singular, sculptural work, Klein considers the circulation of material—clay, wire, rope, fiberglass, and casting tape. The structure will provisionally resolve in the gallery, collapsing at the end of the exhibition into components that will return to the studio for future activations. Klein's evolutive process allows her to see a material through ever-shifting perspectives and thus rewrite its story into innumerable endings. Moore’s works interact with an archaic myth that appears to be stable over millennia. Upon a comparative into the myth’s countless iterations, one sees structural shifts in the story that are representative of cultural shifts transcribed through each artist. Moore’s process employs this shift to expand archaic typologies to be inclusive of Black subjects and thus materialize new meanings in a classical story.