Haynes is a project space located in Chicago’s Bridgeport neighborhood. Housed in the garage of a former bakery, Haynes is a domestically-scaled curatorial venture, offering intimate opportunities to engage with artists working internationally and in Chicago. A project space, Haynes is founded by Jessica Cochran.&nbsp;Opening in fall 2020, it will host exhibitions by an array of contemporary artists working internationally and in Chicago.Operating within a legacy of artist-centered and project-driven cultural spaces in Chicago, our mission is to create a supportive and intentional platform for artists. Haynes is founded with the belief that contemporary art matters, and our society can use more exposure to it. In service to our community, we aim to bridge individuals to contemporary art through an equitable, relevant, and evolving program.&nbsp;Note: Exhibition hours: Tues, 5–8pm and Sat, noon–5pm (Rsvp req). Rsvp to <a href="mailto:info@haynesartprojects.net">info@haynesartprojects.net</a>Top image credit of&nbsp;

Haynes

Visit | 3050 S Haynes Ct Chicago, IL 60608 | Hours announced weekly on IG And by appointment | haynesartprojects.net info@haynesartprojects.net&nbsp;&nbsp;Prosthesis is a group exhibition featuring the work of three artists—Jillian Mayer, Martha Poggioli, and Fin Simonetti—whose practices interrogate symbolic assumptions surrounding the human body, particularly as we understand the body as gendered, or as politically subject to movements in culture, capital, and technology.&nbsp;Martha Poggioli’s practice is driven by exploring the histories of reproductive technology through pessaries—prosthetic devices for contraception, sterilization, medicinal or structural support for the internal architecture of the body. Researching and tracing the history of IUD patents from the Roman era to the Industrial Revolution to the present, she exploits their patterns and taxonomies, transforming them into aesthetic objects. Playing with scale and material, the artist abstracts, stretches, inflates, fragments, prints, and casts elements of these patent forms into either fleshy sculptural compositions, maps on translucent stretched silicone skins, or monoliths rendered in iron or bronze. By extracting the image of interior architectures into exterior ones, the Brancusi- like sculptures cast in bronze tend to question what constitutes a body? Poggioli believes that modernity’s legacy of standardization has imprinted itself on our bodies.(1) The work interrogates the long history of discourses that assert ideologies like religion and politics (in this case also intellectual property law) onto women’s bodies, which becomes ever-more urgent to consider in light of the dissolution of Roe v. Wade.&nbsp;Fin Simonetti often works in hand-carved stone, stained glass and drawing. Her work considers the entangled relationship between measures of control and yearning for security, rendering sculptural forms that represent both protection and vulnerability. Within her found barbershop poster series, parts of anonymous men in profile peek out from under Simonetti’s delicately-crafted, colored stained glass work. Each of the men’s ears are outlined by dainty quatrefoils, emphasizing the act of listening is often characterized as a passive, vulnerable act. References to chapel or cathedral architecture are intentional devices that the artist uses to tinker with the ways in which they elevate the status of images. As the artist has said, “In my work, religion comes up a lot as an entry point into magical thinking.”(2) Also presented in the exhibition is My Volition 2 (2021) a disembodied hind leg of a dog rendered exquisitely in honeycomb calcite, which rests on the edge of a steel railing protruding from the corner of two walls. The piece alludes both to defenselessness and forms of corporeal support.&nbsp;Since 2016, Jillian Mayer has been creating Slumpies, furniture-like objects that become gestural paintings you can sit on. A cheeky nod to Franz West’s “Adaptives” (“Passstücke”) which challenged the relationship between sculpture and furniture, art and utilitarian objects, Mayer’s Slumpies “acknowledge our ever-increasing relationship with technological devices, relieving us of the need to support our own bodies while we interface with the digital world.” (3) These vibrantly-colored, iridescent and intentionally bulky sculptures are designed to curve around the human body and, at times, prop up one’s iPhone closer to one’s face. Equal parts joke and threat, Slumpies elicit what Baudrillard called “the end of the body, of its history, and its vicissitudes.” (4) This exhibition is not concerned with a literal notion of prosthesis. Instead through the lenses of these artists’ practices, the exhibition considers the prosthetic nature of gender, of interiority and exteriority, organic and inorganic, macro and micro forms, suggesting these systems of knowledge, our ideologies are fraught, always, in their human construction.&nbsp;Identity itself is a prosthetic. As Donna Haraway posits in A Cyborg Manifesto (1984), “Liberation rests on the construction of consciousness, the imaginative (5) apprehension, of oppression, and so of possibility.”&nbsp;At this moment, as AI encroaches, questions percolate: what of us could be replaced, outmoded by other knowledge and non-human constructions.&nbsp;-Kristin Korolowicz&nbsp;&nbsp;Haynes Court Bios&nbsp;Fin Simonetti is a Canadian artist and musician who lives and works in New York. She works in diverse media, including stone, stained glass, and drawing. Her work examines the entangled relationship between measures of control and desires for security, rendering sculptural forms that represent both protection and vulnerability. Simonetti’s recent solo exhibitions include Matthew Brown (Los Angeles), Cooper Cole (Toronto), Esker Foundation (Calgary), Company (New York), SIGNAL (Brooklyn) and Good Weather (North Little Rock, Chicago). Recent group exhibitions include Helena Anrather (New York), Moscow International Biennale (Moscow), Francesca Minini (Milan), and CLEARING (Brooklyn). Her work has been reviewed in Artforum, The New York Times, Art in America, The New Yorker, Cultured Magazine, and Canadian Art. She released her debut album ICE PIX on Hausu Mountain (Chicago).&nbsp;Martha Poggioli is an Australian artist. Within her sculptural practice, she works to uncover patterns, occurrences, and languages hidden within the vast constellation of human made things. Exploiting methodologies and legacies of design, she investigates material histories to address personal questions relating to embodiment, representation, and identity. Poggioli holds a BFA from Queensland University of Technology and an MFA from the School of the Art Institute of Chicago. Her work has been shown at the Mütter Museum (Philadelphia), Kunstgewerbemuseum (Dresden), RMIT Design Hub (Melbourne), Julius Caesar (Chicago), SPACES (Cleveland), Bill &amp; Melinda Gates Foundation Discovery Center (Seattle), MassArt Art Museum (Boston), and Rhona Hoffman Gallery (Chicago). She is currently an artist-in- residence at Sharpe-Walentas in Brooklyn.&nbsp;Jillian Mayer is a Cuban-American artist and filmmaker who lives and works in Miami. Her moving image work, sculptures, digital interventions, and performances investigate the points of tension between our online and physical worlds–attempting to inhabit the increasingly porous boundary between the two. Solo exhibitions include Bemis Center for Contemporary Arts (Omaha), Kunst Aarhus (Aarhus), University of Buffalo Art Museum (Buffalo), Postmasters Gallery (New York), Pérez Art Museum (Miami), LAXART (Los Angeles), Utah Museum of Fine Art (Salt Lake City), and David Castillo Gallery (Miami). She has exhibited, screened films, and performed at MoMA PS1 (New York), MoMA (New York), Museum of Contemporary Art, North Miami (Miami), The Bass (Miami), Guggenheim Museum (New York), and the Musée d’Art Contemporain de Montréal, as a part of the 2014 Montréal Biennial. Mayer’s work has been featured in Artforum, Art Papers, Art in America, ArtNews, The Huffington Post, and The New York Times. Mayer is a recipient of the Creative Capital Fellowship, South Florida Cultural Consortium Visual/Media Artists Fellowship, Cintas Foundation Fellowship for Cuban Artists, and was named one of the “25 New Faces of Independent Film” by Filmmaker Magazine. Mayer’s films have screened at festivals including Sundance, SXSW, Rottenberg Film Fest, and the New York Film Festival. She is a fellow of the Sundance Institute’s New Frontiers Lab and New Narratives on Climate Change Lab.&nbsp;Kristin Korolowicz is an independent curator and writer. She has held curatorial positions at the Hirshhorn Museum and Sculpture Garden, The Bass, and the Museum of Contemporary Art Chicago. She earned her MA in Curatorial Practice from California College of the Arts. Over the course of her career, she has worked with an array of emerging to established artists, such as: Ghada Amer &amp; Reza Farkhondeh, Roman Ondák, Mark Dion, Felipe Mujica &amp; Johanna Unzueta, Laurent Grasso, José Lerma, Sanford Biggers, Chemi Rosado-Seijo, and Theaster Gates, among others. Korolowicz’s forthcoming projects include curating a performance with artists Derrick Woods-Morrow and Gozié Ojini in conjunction with Woods-Morrow’s solo exhibition Gravity Pleasure Switchback at UIC’s Gallery 400 in summer of 2023. She is also researching and curating Braiding Histories, the first major solo exhibition of Victoria Martínez’s work, which will be on view at the Chicago Cultural Center in spring of 2024.&nbsp;&nbsp;

Prosthesis

Onto the still, black surface of the river I stepped, crossing the ice to the birch grove on the island opposite my house. I was not thinking of running away. I just wanted to disappear, release the latches binding me to the knife-edged voices at home.Halfway across the river a flash of color caught my eye. I stopped and knelt to look closely: stark green petals of a birch frond trapped just under the ice. I fanned my fingers to match the arc of each leaf, my bruiseless child hands glowing pink in the wind.The current flowed fast under the newly formed ice. I heard sharp pops cracking beneath my weight and moved on quickly with little fox steps, to the shore and then the copse of birch and below their naked branches, a hollow shelter of frozen soil. I climbed in.I could see the lights of my house across the water and did not feel severed, not severed enough. Below the belly of the river, tethered fingers of land joined the island to my backyard.I turned away from the house and lay my face onto a cold rock. And then I saw it, carefully placed on the slate next to my head: a tiny heart beating without a body, delicate open ventricles with no connecting veins. A living heart, soft and rhythmic. I took the beating heart into my hands, my numb palms warming to its heat. It was the size of a walnut shell. Was it the heart of a bird or an infant god?I stood up and cradled the heart in one hand, held it gently to my chest, and carefully stepped back over the ice towards home. I imagined what I could do with a beating heart: hide it within the cracked plaster in the wall behind my bed. At night, when the house quieted, I would hear its metronomic pulse.Several years ago I gave two drawings I’d made in 2008 to someone who later abandoned them in a city a thousand miles away. I hadn’t thought much about the drawings until I learned they’d been left behind and forgotten. Then I couldn’t stop thinking about where they’d ended up. The miscarried gift haunted my imagination daily. Months later a friend texted—he’d randomly found what he believed to be my drawings in a storage unit in that same city—did I want him to send them to me? Yes, yes, I said. Those drawings have never been shown, until now.The urge to disappear is a longing to be seen.The title of this show, No Island is an Island, is a line from the English translation of Island, a novel by Danish author Siri Ranva Hjelm Jacobsen. A few blocks from Haynes Court lies Palmisano Park, built on top of a buried limestone quarry. The gallery walls are composed of limestone Venetian plaster, a building material thousands of years old, known for its ability to expand and contract with shifting humidity. The limestone was applied by myself and my dear friend of twenty years, the Chicago-based artist Alice Tippit.The paintings were all made during the past three months, the summer my mother died. They are named after narrators from books I read during this time, all women who are unapologetic: Edie (from Raven Leilani’s Luster); Esther (from Sylvia Plath’s The Bell Jar); Elena(from Elena Ferrante’s The Neopolitan Quartet); and Joan(from Lisa Taddeo’s Animal). They are unapologetically hungry, horny, hustling and bloody. Their voices propelled my work like the beating of a thinking heart.Mary Simpson was born in Anchorage, Alaska and currently lives in New York. She received an MFA from Columbia University and attended the Whitney Independent Study Program. Her work has shown at Bortolami Gallery, On Stellar Rays, Rachel Uffner Gallery and Simone Subal Gallery, all New York; David Petersen, Minneapolis; Almine Rech, Brussels; Hilary Crisp, London; Chambers Fine Art, Beijing; Seattle Art Museum; Boise Art Museum. Film Screenings, projects and lectures include the Artists Institute, The Kitchen, Goethe Institute, all New York; Henry Art Gallery, Seattle; CAM2, Madrid.Image: Mary Simpson, Edie, 2021. Oil on panel.&nbsp;&nbsp;

Mary Simpson

The Unfolding is an exhibition of new still life paintings by Claudia Hart. Widely exhibited internationally and online, this is Hart’s first solo presentation of paintings in Chicago. The artist calls these works “digital combines.” They are an assessment of our current moment, asserting a new version of authenticity: painting for the age of the computer.In what has been called “flirtatious simulation of forgery,” Hart uses computer modeling&nbsp; to render copy-right protected works by Modernist patriarchs—Picasso, Matisse, and Morandi—in a parallel symbolic space. Meticulously composed by hand using custom software, and re-interpreted with her own attention to color, light, and surface, we understand these works as dreamlike and disembodied, intermingling the physical world with an imaginary VR game space.Each unique work is generated from a Jpeg, created with a computer-driven airbrush machine, and using archival pigments on rare hardwood panels. As appropriations themselves, the works in The Unfolding toy with the issues of copyright that date their origins to the Modernist response to photography. Hart therefore calls these pieces “combines,” following the lead of Robert Rauschenberg. But while Rauschenberg combined painting with a physical sculpture, Hart combines hers with a digital simulation, minted as an NFT with blockchain certification.Moving through pleasure and recognition, our negotiations of Hart’s paintings—both in the white cube and on screen—make way for heady meditations on for the passage of time, notions of authorship and authenticity, identity, and canon.Finally, this work is presented alongside an earlier work from Hart’s practice, Medusa, 2011. This wood drawing, based on a 3D sculpture from her Mortifications series also a combine, representing the artist’s ongoing interest in identity and representation through the evolving “scrim” of technology, all through the lenses of feminism, art history, and queer theory. &nbsp;&nbsp;Claudia HartBased in New York and professor at the School of the Art Institute of Chicago, Claudia Hart emerged as part of a generation of 90s intermedia artists examining issues of identity and representation. Since the late 90s when she began working with 3D animation, Hart embraced these same concepts, but now focusing on the impact of computing and simulations technologies. She was an early adopter of virtual imaging, using 3D animation to make media installations and projections, and later as they were invented, other forms of VR, AR and objects produced by computer-driven production machines. At the School of the Art Institute of Chicago, where she is a Professor, she developed a pedagogic program based on her practice - Experimental 3D&nbsp; - the first dedicated solely to teaching simulations technologies in an art-school context.Hart’s works are widely exhibited and collected by galleries and museums including the collections of the Whitney Museum of American Art, the Museum of Modern Art, and the Metropolitan Museum. Her intellectual contributions have been formative in the growing discourse of NFT-based digital art, and her work has been included in preeminent curated exhibitions at the forefront of this genre.&nbsp;She is represented in the US by bitforms gallery and is married to the media artist Kurt Hentschlager.&nbsp;&nbsp;

Claudia Hart: The Unfolding

Opening reception: Sat, Oct 3, 5 – 8pm Rsvp to <a href="mailto:info@haynesartprojects.net">info@haynesartprojects.net</a> Exhibition hours: Tues, 5–8pm and Sat, noon–5pm (rsvp req) Haynes announces its inaugural exhibition, Cito, Longe, Tarde, at a newly renovated space in Chicago’s Bridgeport neighborhood. Housed in the garage of a former bakery, Haynes is a domestically-scaled curatorial venture, offering intimate opportunities to engage with artists working internationally and in Chicago. A project space, Haynes is founded by Jessica Cochran.&nbsp; This first group exhibition features new works by <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=736d5fd6f9&amp;e=b8acdd3550">Jenine Marsh</a> (Toronto) and <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=f5ab396338&amp;e=b8acdd3550">Alva Mooses</a> (New York), as well as recent and existing works by <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=da4036e662&amp;e=b8acdd3550">Ally Almore</a> (Chicago), <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=fdfa7b92b7&amp;e=b8acdd3550">Daniel Baird</a> (Chicago), <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=daf8a3586e&amp;e=b8acdd3550">John Divola</a> (Los Angeles), <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=bf85da5fcb&amp;e=b8acdd3550">Matt Hanner</a> (Chicago, d. 2011), and <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=933bdd6977&amp;e=b8acdd3550">Julia Phillips</a> (Chicago/Berlin).&nbsp; It is a program of the <a href="https://haynesartprojects.us2.list-manage.com/track/click?u=18a3b0ed79383788ef620f112&amp;id=8a6e84bd38&amp;e=b8acdd3550">Chicago Gallery Open</a>, Sep 30 - Oct 4, 2020 presented by NADA.&nbsp; About the exhibition: Cito, Longe, Tarde means to leave quickly, fly far, and return slowly. This phrase was used during the Middle Ages as a warning for great epidemics of infectious diseases, advising the only possible remedy, flight. In light of the recent pandemic, and in the context of social movements, what does it actually mean for the body to leave quickly, and where does one go? What if to fly far means to shelter-in-place alone, or to perform essential labor with others, all the while finding respite in the outer reaches of our imaginaries? What if, to come back slowly is to cautiously renegotiate the world as someone who is always, for the most part, waiting? With its title as a lens, this exhibition is conceived as a dramaturgy of objects and images that create a space for quiet reflection on lexicons of individual movement—physical and psychic—relative to the passage of time or collective body. Works in this exhibition do not all comment on the pandemic itself or on the social landscape of 2020, but they all ruminate on adjacent, mutable ideas: ways to escape; proximity re-imagined; bodily swiftness; spaces of safety; thresholds of human connection.&nbsp;In Cito, Longe, Tarde, we feel the problem of adaptation as a proposition of art. Materials, forms, and subjects--aesthetic decision after decision--create for us new contours around the work of everyday life.&nbsp; &nbsp;&nbsp;Image: John Divola,&nbsp;As Far As I Could Get (10 seconds) R01F30, 1996-97, courtesy of Gallery Luisotti, Los Angeles

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