HATCH Projects is a yearlong, juried incubator for contemporary Chicago artists and curators that strives to support an ecology of curatorial and artistic practice. HATCH fosters shared experimentation, exchange, and creativity to produce ground-breaking exhibitions and programs.Artist Residents are divided into groups of 4 to work with one Curatorial Resident. Selected artists will participate in a duo and 4-person exhibition organized by their Curatorial Resident. Each Artist Resident receives professional development through dynamic exhibitions, one-on-one studio visits, public programs, and community building to develop a sustainable creative practice. Through this unique hands-on experience and professional development program, Artist Residents develop valuable insight and experience in contemporary exhibition-making.&nbsp;

Hatch Projects

Chicago Artists Coalition&nbsp;will open a new&nbsp;HATCH exhibition&nbsp;on&nbsp;Friday, August 13, 2021.Exhibition&nbsp;is&nbsp;free and open to the public, from 5-8pm,&nbsp;on&nbsp;opening day.Chicago Artists Coalition is pleased to present <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-y/">Survey 3: I Sense Something Has Changed</a><a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-j/">,</a> an inaugural group exhibition featuring new works by current HATCH 2021-2022 artists-in-residence, and curated by <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-t/">Cristobal Alday</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-i/">Yi Cao</a>, and <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-d/">Joan Carol</a>. Exhibiting artists include <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-h/">Benz Amatayakul</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-k/">Anwulika Anigbo</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-u/">Bryana Bibbs</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-o/">Gabriel Chalfin-Piney</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-m/">Jennifer Chen-su Huang</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-c/">Helen Lee</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-q/">Osée Obaonrin</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-a/">Nat Pyper</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-f/">Farah Salem</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-z/">Roderick Sawyer</a>, <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-v/">Jade Williams</a> and <a href="https://news.chicagoartistscoalition.org/t/i-l-clkuudy-dledja-e/">Nayeon Yang</a>.The exhibition will be on view from August 13, 2021 through September 23, 2021, with an opening day on Friday, August 13, 5-8 pm. Walk-ins are welcomed.I Sense Something Has Changed examines the liminal state of perception, holding space for the intuitive moment when one is situated at a sensory threshold. 2021 HATCH residents delve into the multisensorial aspects of artmaking, as well as the metaphorical landscape of awareness, understanding, knowing, and interaction. How do our bodies, lead by touch, sight, sound, smell, and taste come to understand the present world amidst a pandemic that deprives the familiar and activates the unfamiliar? When our senses unfold as sites of voluntary and involuntary memory, what does it mean to sensate, to recall, and to forget? How might we recognize the reverence of human touch, in a time when many have gone without? And how will this shift, this purported moment of awareness, move us towards care for ourselves and one another? Housed in the physical gallery setting, in their sensorial materiality the artists’ objects and images mean to emphasize their co-presence they share with each viewer.The exhibition will feature an interactive library of senses, as well as curated programming that further explores the senses through collaboration. Additional details will be announced at a later date.New Gallery Hours: Wednesday - Friday, 11am-5pm and Saturday, 12-4pmImage: There's More to this Than Meets the Eye, 2021. Collage created by Cristobal Alday using works by Benz Amatayakul Kuipers, Bryana Bibbs, Farah Salem, Gabriel Chalfin-Piney, Helen Lee, Jade Williams, Jennifer Chen-su Huang, Lynette Anigbo, Nayeon Yang, Osée Obaonrin, and Rod Sawyer.&nbsp;&nbsp;

Survey 3: I Sense Something Has Changed

Chicago Artists Coalition is pleased to present <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-j/">Residual Marks</a>, a dual exhibition curated by HATCH 2019-2020 residents&nbsp;<a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-t/">Fabiola Tosi</a> and <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-i/">Stephanie Koch</a>.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 <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-d/">Naomi Elson</a>and <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-h/">Joshi Radin</a>, curated by Fabiola Tosi; Endurance and Emergence features new work by HATCH 2019-2020 artists-in-residence <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-k/">Julia Klein</a> and <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-u/">Salim Moore</a>, 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 <a href="https://news.chicagoartistscoalition.org/t/i-l-muyjyuy-ftuikdrju-o/">here</a>.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.&nbsp;&nbsp;&nbsp;

Residual Marks

<html><head></head><body>Extended: January 6 - January 21, 2021 by appointment only. Please reserve your time <a href="https://calendly.com/chicagoartistscoalition">here</a>.Chicago Artists Coalition is pleased to present Excavating Memory, a group exhibition that features new artworks by HATCH Residents Katie Chung and Unyimeabasi Udoh. The exhibition opens on Friday, February 21, with a public reception from 5-8pm.Excavating Memory is a journey into the world of archiving, memorializing and reclaiming cultural erasure. Using photography, drawing, sculptural objects and mix-media installations, Katie Chung and Unyimeabasi Udoh resurrect memories that communicate the subtleties and multiple layers of self with the freeing statement, “I define me”.Katie Chung’s work explores Korean-American identity through memories of family life and language while honoring the process of repetitive work and labor. She brings dignity and reverence to storied objects like old scissors long forgotten and the traditional Korean dress, the hanbok.Chung’s work pays homage to remembering elements or items used within the confines of a service sector immigrant business enterprise. Her art refers to personal history, cultural memory and self. They are crafted in materials imbued with deep cultural meaning like the use of dry cleaning tags that points to her childhood environment.In contrast, Unyimeabasi Udoh brings up the past by inscribing it in the context of cultural anthropology and ethnographic practices. They cleverly destabilize the western gaze and challenge dominant-culture museums that catalog and display the “African” in a “cabinet of curiosities,”reinforcing the fraught notion of “the other” as a primitive culture and society.Udoh forces us to reframe the ways we “see” and what it means to be “on display” by turning our assumptions of identity on its head. With the use of language/text and the juxtaposition of photography and installation art, Udoh also presents us with visions of vacant landscapes, devoid of human presence, that usher sentiments of longing and self-alienation.Excavating Memory is curated by Juelle Daley.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419521/mthlenjvwdgqrwyz24k9.jpg"></figure>After residing and studying in France for several years, Juelle Daley arrived in Chicago with an M. A. in Urban Planning &amp; Design from the Institut Francais d’ Urbanisme and a B.A. in East Asian Studies (China) and Urban Studies from Rutgers University. All of this and more has transformed her into a hybrid cultural creature, a self-described nerd, dreamer, cinephile, Francophile, filmmaker, photographer and art lover.&nbsp;Juelle is currently Assistant Director at the Center for Black Diaspora at DePaul University and a MFA candidate in Film at DePaul’s School of Cinematic Arts.She is also the co-founder of the itinerant pop-up art event Salon Caju that showcases the art of local Chicago creatives. In 2015, she directed the short film, “Six Hour Pass” and is currently in post-production on a documentary called “Tainted Name.” Recently, she curated an exhibit on ‘Ebony and Jet magazine covers of the 1960’s.’&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419521/kr1kldld6tnfe3akqnqt.jpg"></figure>Katie Chung is a Korean-American visual artist from Chicago working in drawing, print, and sculpture. She blends her heritage and personal identity to build a legacy that reveals her relationship to immigration and labor. She received her BFA from the School of the Art Institute of Chicago, participated in local and international exhibitions, and is currently a member of Candor Arts, a resource for the design and production of artist books.&nbsp;Image: Katie Chung, Rote, 2019, Ball point pen on paper, 12 x 16 in.&nbsp;&nbsp;</body></html>

Excavating Memory

Chicago Artists Coalition is pleased to present<a href="https://news.chicagoartistscoalition.org/t/i-l-xedrjk-dlvzir-d/">Excavating Memory</a>, a two-person&nbsp;exhibition featuring new works by HATCH Artists-in-Residence, <a href="https://news.chicagoartistscoalition.org/t/i-l-xedrjk-dlvzir-h/">Katie Chung</a> and<a href="https://news.chicagoartistscoalition.org/t/i-l-xedrjk-dlvzir-k/">Unyimeabashi Udoh</a>, and is curated by Juelle Daley.Excavating Memory&nbsp;is a journey into the world of archiving, memorializing and reclaiming cultural erasure. Using photography, drawing, sculptural objects and mix-media installations, Katie Chung and Unyimeabasi Udoh resurrect memories that communicate the subtleties and multiple layers of self with the freeing statement, “I define me”.Katie Chung’s&nbsp;work explores Korean-American identity through memories of family life and language while honoring the process of repetitive work and labor. She brings dignity and reverence to storied objects like old scissors long forgotten and the traditional Korean dress, the&nbsp;hanbok.Chung’s work pays homage to remembering elements or items used within the confines of a service sector immigrant business enterprise. Her art refers to personal history, cultural memory and self. They are crafted in materials imbued with deep cultural meaning like the use of dry cleaning tags that points to her childhood environment.In contrast,&nbsp;Unyimeabasi Udoh&nbsp;brings up the past by inscribing it in the context of cultural anthropology and ethnographic practices. They cleverly destabilize the western gaze and challenge dominant-culture museums that catalog and display the “African” in a “cabinet of curiosities,”&nbsp;reinforcing the fraught notion of “the other” as a primitive culture and society.Udoh forces us to reframe the ways we “see” and what it means to be “on display” by turning our assumptions of identity on its head. With the use of language/text and the juxtaposition of photography and installation art, Udoh also presents us with visions of vacant landscapes, devoid of human presence, that usher sentiments of longing and self-alienation. &nbsp;This event is free and open to the public.&nbsp;Image:&nbsp;Katie Chung,&nbsp;Rote, 2019, Ball point pen on paper, 12 x 16 in.&nbsp;

WORK BY:Cass Davis Kelly Kristin Jones kwabena foli Mark BlanchardCURATED BYJeff RobinsonChicago Artists Coalition is pleased to present Tracing Faults, a group exhibition featuring new works by HATCH artists-in-residence, Mark Blanchard, Cass Davis, kwabena foli, and Kelly Kristin Jones.The exhibition runs from January 3 - February 13, 2020, with an opening reception on Friday, January, 3 from 5-8PM.Tracing Faults is one of two synchronous exhibitions featuring works from Blanchard, Davis, foli, and Jones. The companion exhibition, To Unmake a Fold, will take place at University of Illinois Springfield (UIS) Visual Arts Gallery. Both exhibitions are curated by Jeff Robinson who works as HATCH curatorial resident and as Director of the Visual Arts Gallery at UIS.In geology, faults and folds refer to tectonic activities that result from immense stress and pressure below the Earth’s surface. These environmental tensions trigger groundbreaking events that reshape the visible landscape. As joint exhibitions, Tracing Faults (and) To Unmake a Fold use these seismic actions as an analogy for the social, cultural, and political rifts that permeate our present human condition, and consider how these quandaries prompt opportunities for collective renewal and redemption. Blanchard, Davis, foli, and Jones create works that trace the underlying structures and systems that infringe upon our human rights to equality, freedom of expression, and freedom from discrimination. Working in video, sculpture, installation, and poetry, these artists present transformed narratives that unmake discord by re-visualizing the freedom intrinsic to our being.It is no coincidence that Tracing Faults and its companion exhibition To Unmake a Fold reside in two Illinoisan cities with an established history of ideological discord and that together have significant influence over the governance of our state. These exhibitions express a desire to undo those rifts between us. In numerous ways, the works on display at both galleries will converse with each other. This desire to bridge the gap and connect these disparate communities is echoed in the exhibition titles. Alone, each title provides only a fragmented glimpse; an incomplete thought. But together, their words urge us to use adversity in order to achieve self-actualization. Through their work and across these social, political, and geographical chasms, these artists are tracing faults to unmake a fold.Tracing Faults is curated by Jeff Robinson.Jeff Robinson is a curator, artist, and arts advocate based in both Chicago and Springfield,&nbsp;Illinois. Robinson has curated and organized numerous exhibitions at the UIS Visual Arts&nbsp;Gallery, where he serves as Gallery Director, and at DEMO Project, which he co-founded and&nbsp;co-directed until its demolition in early 2018. In 2017, Robinson co-organized the Terrain&nbsp;Biennial: Outpost in Enos Park. He currently serves as Co-Vice President on the board for&nbsp;Terrain. His curatorial and studio practices have been featured on Daily Serving, in NewCity&nbsp;Magazine (Chicago), FLOORR Magazine (London) the Riverfront Times (St. Louis), and NPR&nbsp;Illinois, among others.&nbsp;Image: Kelly Kristin Jones,&nbsp;Dodge Test #43, 2019, Video still, 5 minutes&nbsp;

Tracing Faults

In the mud and slush of opinion and tradition, the body becomes landscape and I become a transparent eyeball Holly Cahill and Kushala Vora, Curated by Alexis BrocchiChicago Artists Coalition is pleased to present: In the mud and slush of opinion and tradition, the body becomes landscape and I become a transparent eyeball, a HATCH exhibition featuring work by artists-in-residence, <a href="https://news.chicagoartistscoalition.org/t/i-l-pkjidiy-dledja-y/">Holly Cahill</a><a href="https://news.chicagoartistscoalition.org/t/i-l-pkjidiy-dledja-j/"> </a>and <a href="https://news.chicagoartistscoalition.org/t/i-l-pkjidiy-dledja-t/">Kushala Vora</a>.&nbsp;The exhibition opens on Friday, November 15, 2019 with a reception from 5-8 pm.With a common intensity to explore the way we see all things in the environment, close and far away, this exhibition is—at the root of it— about perceptions. Your perception, mine, theirs, and ours. &nbsp;Human developed ideas and culture often cloud the experience and influences of the natural world we all inhabit. The show’s title, made up of phrases pulled from the analysis&nbsp;of Thoreau’s writings within A Philosophy of Walking by Frédéric Gos, hints at our mission to expose, blur, and converge the binary oppositions between nature and culture.&nbsp;In the exhibition, In the mud and slush of opinion and tradition, the body becomes landscape and I become a transparent eyeball, Holly Cahill and Kushala Vora work in multidisciplinary ways to reclaim the senses, bodily and cerebral. Through small gestures each artist recovers nature, recovers biology, and recovers our ways of seeing in the face of present systems and structures. One common gesture is fiber-focused material explorations. &nbsp;With the desire to embed details and information in each weaving or stitch, the artists allow for a slowing down of the process of observation and create the possibility to cultivate a second sight. (1)&nbsp;Cahill’s work is exploring other forms of consciousness and experiences of ecological effects through her studies and interpretations of the bird species, the starling. In this study, Cahill uses drawing, sculptural beings, and collage to explore patterns and ideas. In contrast, Vora’s work aims to expose the colonial influence on the dissemination of information in education systems while contemplating the fundamental acts of learning to name, compare, and valuate - cultivating our perceptions. Vora utilizes ethnographic footage, photography, film, drawings, and collected materials to remove the hierarchy of self and objects in the shared environment. Both artists rely on the fact that land and its inhabitants are the starting point —and— what we experience, we become.In the mud and slush of opinion and tradition, the body becomes landscape and I become a transparent eyeball is curated by Alexis Brocchi.&nbsp;

In the mud and slush of opinion and tradition, the body becomes landscape and I become a transparent eyeball

Chicago Artists Coalition is pleased to present Portals, a group exhibition featuring new work by HATCH artists-in-residence Hale Ekinci, Shir Ende, Mayumi Lake, and Liang Luscombe. The exhibition opens on Friday, September 27, 2019 with a reception from 5-8PM.In this exhibition, each artist draws from an array of practices—among them, photography, video, fiber, sculpture, printmaking, and performance—to produce images and forms that open vistas into other worlds.Portals is curated by Elliot Reichert.Hale Ekinci, Shir Ende, Mayumi Lake, Liang LuscombeCurated by Elliot Reichert &nbsp;Image: Liang Luscombe, Sweaty Scales, 2019, HD digital video (video still)&nbsp;

Portals

Chicago Artists Coalition is pleased to present&nbsp;<a href="https://news.chicagoartistscoalition.org/t/i-l-pihlltk-dlvzir-d/">Survey 1</a>, an inaugural group exhibition featuring works by current HATCH artists-in-residence. Exhibiting artists include:&nbsp;Mark Blanchard,&nbsp;Holly Cahill,&nbsp;Cass Davis,&nbsp;Hale Ekinci,&nbsp;Shir Ende,&nbsp;kwabena foli,&nbsp;Ashley M. Freeby,&nbsp;Gina Hunt,&nbsp;Kelly Kristin Jones,&nbsp;Mayumi Lake,&nbsp;Liang Luscombe, and&nbsp;Kushala Vora.&nbsp;For&nbsp;Survey 1, the 2019 HATCH curatorial residents,&nbsp;Alexis Brocchi,&nbsp;Elliot J. Reichert, and&nbsp;Jeff Robinson&nbsp;join creative forces to collaboratively curate a group exhibition with all twelve artists-in-residence. Examining the organizational structure of the HATCH residency itself, the curators commingle the divided artist groupings as a method to foster new relationships and connections between artists and their work.&nbsp;This exhibition is presented in conjunction with EXPO ART WEEK&nbsp;

Survey 1

The Chicago Artists Coalition is pleased to present&nbsp;The Body is Work, a group exhibition featuring new works by HATCH artists-in-residence,&nbsp;Hale Ekinci,&nbsp;Shir Ende, and&nbsp;Mayumi Lake. The exhibition opens onFriday, March 29, 2019 with a reception from 5-8 pm.The Body is Work&nbsp;asks, if artists make specific objects, are artists then specific bodies? Considering the works of Ekinci, Ende, and Lake, this exhibition proposes the specific body as a paradigm to comprehend the interlacings of objecthood, artistic labor, and, subjectivity. Works in the show represent a range of material and formal strategies that question authorship and agency, to produce new understandings of the artist’s studio practice.Hale Ekinci’s embroidered and lace-trimmed compositions foreground the gendered labor of fiber practices. They are imbued with connotations of domesticity, decorative embellishment, and repair. Her transformations of the materials complicate a facile read of gender and craft, by layering family photos under meanders of embroidery to both obscure and embellish them.Built of hand-cut segments of high-resolution scans of vintage girls’ ceremonial kimonos,&nbsp;Mayumi Lake’s blossoming collages cross-pollinate the minute details of a time-honored Japanese sartorial custom with historical references to&nbsp;Housouge. Transforming tradition and history with digital and manual photographic processes, Lake foregrounds her labor as an act to deconstruct the bodily object of the kimono.Shir Ende&nbsp;proposes the body itself as object, subjected to the pervasive hegemony of architectural space. In her recent collages, she extends her speculative spatial deconstructions, by rearranging images and pastel planes on the glass surface of a scanner bed. Bodies in motion are interrupted and overlaid with grids and shapes, obscuring the figure as they amplify the architectural contours of the built experience.The Body is Work&nbsp;is curated by&nbsp;Elliot Reichert.&nbsp;Image: Hale Ekinci, Untitled Farmers, 2018

The Body is Work

Chicago Artists Coalition is pleased to present&nbsp;Spontaneous Remarks, a HATCH exhibition with work by&nbsp;Marie Baldwin,&nbsp;Kate Conlon,&nbsp;Bobby Gonzales,&nbsp;Olivia Petrides,&nbsp;Erin Smego, and&nbsp;Matthew Wead.Spontaneous Remarks&nbsp;embraces chance-based and sequential programming processes as a strategy in opening up dialogue around what a curatorial framework could look like. Revealing a snapshot of the group’s unconscious reality, the show draws on elements from the Surrealist parlor game,&nbsp;Exquisite Corpse. The game requires participants to write/draw on a sheet of paper, fold to conceal their contribution, and then pass to the next person. In continuing with the elements of objective chance, play, and spontaneity, the artists have been paired up at random to cumulatively present their works over the course of three consecutive openings. Challenging the static notion of exhibition-making, this process aims to highlight the ways in which relationships between artworks evolve and become increasingly complex over a continuum of time and space.The Surrealists understood reality as something that was rooted in the unconscious mind. Although the artworks are formally disparate, with media that include: sculpture, textile, painting, and photography, the exhibition aims to expose hidden possibilities that are underpinned by a shared unconscious reality. Rather than impose one overarching thematic connection between works, relationships are formed in an un-premeditated way. This approach allows for seemingly uncanny, absurd, and sometimes strikingly cohesive connections through occurrences between form, color, texture, and thematics. With concepts ranging from the deconstruction of fashion trends and pop culture icons to the grandeur of nature and scientific investigation, the six artists’ works converge in this moment to weave together a narrative that defies the predetermined modes of canonized exhibition-making and takes pleasure in aleatoric composition.Spontaneous Remarks&nbsp;is curated by Courtney Cintron.

Spontaneous Remarks

Opening reception :Fri, February&nbsp;1, 2019, 5-8 pm* On view: Fri, February 1&nbsp;- Thu, February 21, 2019 Closing reception: Thu, February 21, 2019, 5-8 pmChicago Artists Coalition is pleased to present "Form Without Plan," a HATCH&nbsp;exhibition featuring Colleen Keihm, Jacqueline Surdell, Kioto Aoki, Oscar Gonzalez, Whit Forrester, and Yasmin Spiro. Through photography, performance, sculpture, installation, and fiber art, these artists examine relationships between the body and space, oscillating from physical to psychological registers. As Elizabeth Grosz details in her book Architecture from the Outside, notions of the body often imply and produce notions of spatiality. To the extent that it is socially produced by human activity, space takes on a certain duality with the body, for example by representing projected images of corporeality or being measured spatio-temporally by parameters of the human form. Utilizing everyday gestures and unstylized performativity, Kioto Aoki creates an improvisational series of body movements to activate the space in front of her camera. The contorted structures and shapes in Jacqueline Surdell’s macramé hybrids of weaving, painting, and knotted rope emanate a rigorous physicality, while also referencing organic forms and a lineage of landscape painting. Conceptualizing the car as a camera within the filmic trance of driving, Whit Forrester’s photo sequences ponder our place within the natural realm and the webs of connection between all living things human and non-human – with highways themselves being both networking arteries and violent tools of imperialist expansion. In a different direction, spaces may also produce and regulate human bodies in various ways, based on race, gender, class, and more. Discourses in neuro-architecture and psychogeography have pointed to affective spatial qualities and how they influence our experience – evident for example in our mental and cognitive sense of location and navigation. Continuing on a long-term research trajectory about systems of migration, Oscar Gonzalez’s work plots localized patterns of mobility tied to socioeconomic factors, while also grappling with how mapping practices have historically been instruments for controlling bodies and spaces. Through a set of immersive installations, Yasmin Spiro explores how our understanding of place is channeled through sensory experience and memory, with particular emphasis on non-visual modes of developing familiarity and orientation. Meanwhile, Colleen Keihm’s pieces conjure a de-familiarization of space through gestures of layering, blending and interposing that rupture the perceived continuity of two-dimensional and three-dimensional planes. Across these six artists’ works, the human figure is not always imaged or signified in a literal way, but is nonetheless undeniably present: Aoki’s fragments become a synecdoche for body and scene; Surdell’s painted forms evoke tendons, ligaments, and other aspects of bodily exertion; passing or pausing at Forrester’s panoramas is either mimicked by motion blur or a halted moment to potentially encounter the Divine in nature; Gonzalez and Spiro both directly implicate the gallery viewer’s body in a multi-sensory&nbsp;experience; and Keihm’s spatial collages balance stark abstraction against a subtle tactility which perhaps helps ground the accompanying disorientation. "Form Without Plan" is organized by Greg Ruffing.For more information click<a href="https://news.chicagoartistscoalition.org/t/i-l-nhlkhdy-ftuikdrju-y/">HERE</a>.&nbsp;Image:&nbsp;Colleen Keihm,Crease, 2018, Archival inkjet print

Form Without Plan: Closing Reception

Closing reception: February 21, 2019, 5-8 pmChicago Artists Coalition is pleased to present "Form Without Plan," a HATCH&nbsp;exhibition featuring Colleen Keihm, Jacqueline Surdell, Kioto Aoki, Oscar Gonzalez, Whit Forrester, and Yasmin Spiro. Through photography, performance, sculpture, installation, and fiber art, these artists examine relationships between the body and space, oscillating from physical to psychological registers. As Elizabeth Grosz details in her book Architecture from the Outside, notions of the body often imply and produce notions of spatiality. To the extent that it is socially produced by human activity, space takes on a certain duality with the body, for example by representing projected images of corporeality or being measured spatio-temporally by parameters of the human form. Utilizing everyday gestures and unstylized performativity, Kioto Aoki creates an improvisational series of body movements to activate the space in front of her camera. The contorted structures and shapes in Jacqueline Surdell’s macramé hybrids of weaving, painting, and knotted rope emanate a rigorous physicality, while also referencing organic forms and a lineage of landscape painting. Conceptualizing the car as a camera within the filmic trance of driving, Whit Forrester’s photo sequences ponder our place within the natural realm and the webs of connection between all living things human and non-human – with highways themselves being both networking arteries and violent tools of imperialist expansion. In a different direction, spaces may also produce and regulate human bodies in various ways, based on race, gender, class, and more. Discourses in neuro-architecture and psychogeography have pointed to affective spatial qualities and how they influence our experience – evident for example in our mental and cognitive sense of location and navigation. Continuing on a long-term research trajectory about systems of migration, Oscar Gonzalez’s work plots localized patterns of mobility tied to socioeconomic factors, while also grappling with how mapping practices have historically been instruments for controlling bodies and spaces. Through a set of immersive installations, Yasmin Spiro explores how our understanding of place is channeled through sensory experience and memory, with particular emphasis on non-visual modes of developing familiarity and orientation. Meanwhile, Colleen Keihm’s pieces conjure a de-familiarization of space through gestures of layering, blending and interposing that rupture the perceived continuity of two-dimensional and three-dimensional planes. Across these six artists’ works, the human figure is not always imaged or signified in a literal way, but is nonetheless undeniably present: Aoki’s fragments become a synecdoche for body and scene; Surdell’s painted forms evoke tendons, ligaments, and other aspects of bodily exertion; passing or pausing at Forrester’s panoramas is either mimicked by motion blur or a halted moment to potentially encounter the Divine in nature; Gonzalez and Spiro both directly implicate the gallery viewer’s body in a multi-sensory&nbsp;experience; and Keihm’s spatial collages balance stark abstraction against a subtle tactility which perhaps helps ground the accompanying disorientation. "Form Without Plan" is organized by Greg Ruffing.For more information click <a href="https://news.chicagoartistscoalition.org/t/i-l-ndidkuy-dledja-y/">HERE</a>.

Form Without Plan

Opening reception: Friday, January 4, 2019, 5-8pmChicago Artists Coalition is pleased to present Out of Context, a HATCH exhibition with work by Elana Adler, Nora Chin, Haerim Lee, Wen Liu, Michael Moore, and Alejandro Waskavich.&nbsp;Out of Context presents artists exploring the presence, absence, and&nbsp;fragmentation of universally-known symbols and signifiers. Through the medium of painting,&nbsp;ceramics, sculpture, and installation, the selection of work takes visual tropes from America’s&nbsp;collective consciousness out of context to reveal the underlying meaning beneath the surface of&nbsp;everyday patterns and shapes. Representational imagery--from floral sculptural relief to&nbsp;silhouettes of human and nonhuman bodily forms--are placed alongside repetitive geometric&nbsp;grids and forms to uncover the power of abstracting the familiar.The pieces by Elana Adler, Nora Chin, and Alejandro Waskavich document traces of the body&nbsp;through minimalist contours, interactive cubes, and painterly strokes. Adler’s stackable cubes&nbsp;invite the viewer to physically manipulate their orderly configuration, while Chin and Waskavich&nbsp;deconstruct imagery found in America’s mainstream visual culture to invoke feelings of nostalgia&nbsp;and bodily intimacy. The collection of work by Haerim Lee, Wen Liu and Michael D. Moore&nbsp;understand symbolism from a more metaphorical sense, using urban symbols of power&nbsp;structures, cross-hatched fences and borders, and representations of animal skin and shells to&nbsp;symbolize notions of spatial marginalization and otherness.Together, the artists in Out of Context stretch the limits of meaning to locate new symbolic&nbsp;possibilities. They reveal the destabilizing effects of the loss of symbols and context to&nbsp;interrogate how we, as viewers, making meaning out of art, objects, and the living. &nbsp; &nbsp;Out of Context is curated by Sabrina E. Greig.

Out of Context

Exhibition Runs: Friday, November 30, 2018 - 6pm to Thursday, December 20, 2018 - 5pmChicago Artists Coalition is pleased to present This is What We Know, a HATCH Projects exhibition featuring works of art by William Camargo, Andrea Coleman, India Martin, Mitsu Salmon, and Darryl DeAngelo Terrell.We cannot escape out origins, however hard we might try, those origins contain the key --could we but find it-- to all that we later become.- James Baldwin, Notes on a Native SonAs people of color and ethnic minorities in the Americas, we often go through life seeing images of ourselves that have been selected by the majority to represent who we are and what we are capable of doing. This often leads to a sense of loss and disconnection to one’s origins. However, when the power is taken back into the hands of Black and Brown folx, the mundane becomes extraordinary and cultures and families are truly celebrated. This is What We Know surveys the contemporary tracking and archiving of communities of color. The histories of Black, Brown, and Indigenous people in the Americas has often been misrepresented, fetishized, or erased. As it would often happen, these communities took it upon themselves to explore and celebrate their past. Before there was a name for it, grassroots historians and DIY archivist were thriving and doing work vital work within their communities.This is What We Know looks into the families and communities of artists of color to document their realities. The artists are in themselves historians and archivists of their respective people. Beyond the cataloguing of old family photos and recording of stories, these works interpret childhood memories, passages of time, family lineages, and so much more. Through the documentation of their environments, these artists are continuing an often radical tradition of reclaiming their origins and creating their own narratives.This is What We Know is curated by Jamillah Hinson.

This is What We Know: Opening Reception

Opening reception: Friday, November 30, 2018, 6-9pmChicago Artists Coalition is pleased to present This is What We Know, a HATCH Projects exhibition featuring works of art by William Camargo, Andrea Coleman, India Martin, Mitsu Salmon, and Darryl DeAngelo Terrell.We cannot escape out origins, however hard we might try, those origins contain the key --could we but find it-- to all that we later become.- James Baldwin, Notes on a Native SonAs people of color and ethnic minorities in the Americas, we often go through life seeing images of ourselves that have been selected by the majority to represent who we are and what we are capable of doing. This often leads to a sense of loss and disconnection to one’s origins. However, when the power is taken back into the hands of Black and Brown folx, the mundane becomes extraordinary and cultures and families are truly celebrated. This is What We Know surveys the contemporary tracking and archiving of communities of color. The histories of Black, Brown, and Indigenous people in the Americas has often been misrepresented, fetishized, or erased. As it would often happen, these communities took it upon themselves to explore and celebrate their past. Before there was a name for it, grassroots historians and DIY archivist were thriving and doing work vital work within their communities.This is What We Know looks into the families and communities of artists of color to document their realities. The artists are in themselves historians and archivists of their respective people. Beyond the cataloguing of old family photos and recording of stories, these works interpret childhood memories, passages of time, family lineages, and so much more. Through the documentation of their environments, these artists are continuing an often radical tradition of reclaiming their origins and creating their own narratives.This is What We Know is curated by Jamillah Hinson.

This is What We Know

The Chicago Artists Coalition is pleased to present S-W-O-O-$-H, a HATCH Projects exhibition featuring new works by Óscar González-Díaz&nbsp;and Matthew Wead,&nbsp;curated by&nbsp;Courtney Cintron.S-W-O-O-$-H looks at the rise in the global popularity of soccer and sportswear as a prism through which to understand, probe, and critique the broad social and economic impact of globalization.As the harbinger of neoliberal economics, commercial sports has become one of the most discernible faces of global capitalism. Sponsorships and broadcasting have transformed athletes and clubs into capital generating mechanisms that resemble brands, and behemoth sports events such as the FIFA World Cup have had considerable widespread economic implications.Using the World Cup as a backdrop and employing a variety of source materials including media excerpts, Mexican soccer balls, and prints, artist&nbsp;Óscar González-Díaz examines The North American Free Trade Agreement (NAFTA; an agreement signed by Canada, Mexico, and the U.S.) and its impact on trade during and preceding the current U.S. administration. Utilizing the manufacturing of soccer balls in Mexico as a case study,&nbsp;González-Díaz investigates how these materials are exported and imported from the country and elucidates how this process creates spaces of economic uncertainty.Sportswear giants such as Nike and Adidas have also become highly visible transmitters of corporate liberalism, amassing a fortune on cotton-based fabrics in fashion and urban streetwear marketed primarily to people of color. Through a series of subversive fashion installations and prints, artist Matthew Wead probes the ongoing relationship between cotton and Black Americans and its affect on the global economy. Drawing further on this concept, Wead considers the recent move of sportswear companies such as Nike towards ‘capitalism with a conscience’ and questions whether the re-branding of these companies exploits consumers purchasing brands that outwardly convey their political beliefs.Exposing several polemical concerns,&nbsp;González-Díaz and Wead move beyond a critique of the commercialization of mass sporting events and sportswear companies and aim, instead, to delineate the role that sports play in fueling the global capitalist order.S-W-O-O-$-H is curated by Courtney Cintron.ProgrammingA Post-NAFTA World Monday, November 12 6:00 - 8:00 pmJoin artist&nbsp;Óscar I. González Díaz&nbsp;for a round-table conversation on the implications, negotiations, and eventual renaming of NAFTA.&nbsp;The artist will use their artworks and their respective material histories to provide examples and contextual use of the treaty. Structured around the events that facilitated the production of the soccer balls in the exhibition (the conversation with producers in Mexico., the tariff implications as the tariffs changed daily, and the treatment with customs) the conversation will also center around the practices of labor outside the US for consumption of products in the U.S.THESE EVENTS ARE FREE AND OPEN TO THE PUBLIC.ARTIST BIOS<a href="http://www.oscar-gonzalezdiaz.com/">Óscar González-Díaz</a> was born in El Paso, TX. He grew up on the other side of the border in Ciudad Juárez, Chihuahua, Mexico, and because of this he has moved around a lot during his developmental years.&nbsp;His artwork evokes the fleeting sense of relationships, it's senseless sentimentality and the relationships between self and environment. He is currently on residency in Berlin from The School of The Art Institute of Chicago where he is creating woodcut prints in Kurrent (a german script) for his show at the end of September.Oscar has an MFA (2017) in Fiber and Material Studies from The School of The Art Institute of Chicago. He holds a BA in Philosophy and Linguistics from The University of Texas at El Paso. He has exhibited in the USA, Mexico, Germany and S. Korea. He lives in Chicago, enjoys discussions about wallpapers and occasional displays of human kindness.&nbsp;&nbsp;<a href="http://chicagoartistscoalition.org/programs/hatch-projects/2017-2018/matt-wead">Matthew Owen Wead</a> (b. 1984, Chicago, IL) is an interdisciplinary artist whose practice explores social hierarchy through verbal and written language.&nbsp;He received a BFA from Morehouse College (2006) and an MFA from University of Maryland (2009) with a focus on printmaking, sculpture and photography. His work often uses multiple-mediums and is constructed to be used as real-world objects and structures. This practice of creating physical objects/tools, reinforces that these objects are not to be seen as fictional objects or ideas, but as slight alterations to what is already being done/seen around us and to us as a society.&nbsp;CURATOR BIOCourtney Cintron is a Chicago-based arts and cultural administrator, curator, and performing artist.&nbsp;She is a 2017 MA Graduate of the School of the Art Institute of Chicago, Department of Arts Administration and Policy and a graduate of the Institute of Curatorial Research and Practice at SAIC. As a versatile individual, she has had the pleasure of managing an array of artistic projects for arts organizations, from youth art education, art exhibitions, and interdisciplinary artist showcases, to poetry, theater, and music programs. Her dedication to tackling complex social issues and promoting deep learning and critical thinking through the arts has illuminated her path. Courtney currently holds a position with ProjectArt as Chicago Program Director.

S-W-O-O-$-H

The Chicago Artists Coalition is pleased to present&nbsp;Artificial Life, a HATCH Projects exhibition featuring new experimentations by&nbsp;Azadeh Gholizadeh,&nbsp;Matt Mancini,&nbsp;G&uuml;lşah Mursaloğlu,&nbsp;Jeff Prokash,&nbsp;Anna Showers-Cruser, and&nbsp;Joseph Wilcox.&nbsp;Curated by Meg T. Noe.

In 1989, punk-ska band Operation Ivy released their only full-length album&nbsp;Hectic. Although the band was only active for two years, their songs have achieved cult following, record sales and re-releases selling in the hundred-thousands, defining a genre of music for decades. Op Ivy lyrics are characterized by themes of social justice and disinterest in conforming with mainstream culture or social norms. The song &quot;Artificial Life&quot; airs frustrations with the music industry during the age of MTV mania. The exhibition title takes reference from this song because of a shared frustration with systems of power within creative industries and a strong desire to resist conforming to the expected roles of the arts industry.&nbsp;Artificial Life&nbsp;in someway also nods to a seemingly hypocritical position of rejecting a particular ideology yet still willingly or unwillingly participating in that system.

COST: 
Free and open to the public

Opening reception: Friday, February 2, 2018 from 6-9:30pm 
Exhibition dates: Friday, February 2 - February 22, 2018

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