- An archaeological dig: a prevalent way to recover human history is through archaeological excavation. Archaeology is a loose discipline. The methods of unearthing are scientific and restrained, but the things you look for when digging like an archaeologist are numerous and sometimes completely unknown.
-To see what’s growing underneath. She dug holes into the earth all summer, her hair tied up in a bandana. She built a studio in the woods, using the holes she dug as molds into which she poured colored wax, capturing flowers, insects, and weeds in the viscous bright liquid. (When big chunks of glaciers get stuck in earth, they create giant pools of ice that result in holes when they melt. Geologists call these holes “kettles,” and lakes often form in these depressions.) When she was a young girl in West Virginia, she dug holes to explore the parts of the world that were just barely invisible but still attainable to her. The work that she did digging those holes was unprofessionalized and undifferentiated. She could have been looking for fossils or diamonds or evidence of human history before her.
- A geology sample: this object contains a hidden story that helps to analyze the history of the land. Geology samples are beautiful tubes of stratified sediment, about as wide as tennis ball containers, created through special methods of drilling. You have to learn the language of the colors and textures of compacted sediment layering the cylinder to tell a story about the hidden parts of the earth. See: archaeology.
-Quarries and mines: this is a very violent thing to do. People who are paid to do this work often die. Sometimes it creates lakes to swim in after. (She grew up swimming in a quarry, so even to this day she cannot think of quarries without the warmth of that memory coming over her.) With quarries and mines, you are looking for something valuable, for treasures that you will bring elsewhere.
-Gardening: this is also a fairly violent way to cut into the earth, depending on what you’re gardening and whether you plan to pull it up or look at.

[Page 5]

In previous works, Norton uses prefabricated molds in a controlled studio environment to create geometric forms of wax and resin with plants embedded inside. In these newer works, she take these traditional studio materials and cast them into the earth, layering plants and other life inside.

Above, “Page 5”, is an excerpt from a chapter in “Art in the Earth: A Field Guide from the Soil to the Studio”, an artist book that will be included in the exhibition. Heidi is collaborating on this book project with writer Monica Westin. One version, using appropriated album boxes, will take the form of an artist monograph and field guide. A second variation will be available as a limited edition artist book.

ONCE, WE WERE GIANTS
In our era of super-technologies and hyper-infrastructures, the gap between body and mind seems to become exponentially smaller and blurred. The link between the physical world around us and ideology seamlessly blend into one another, as one is borne from the other in no discernible order. The niches we establish are formed by ever more calculated measures, which we perceive as extensions of our selves. In so doing, our person- our physical being – not only becomes one with external stimuli, but exists with infinite potential. It is possible now for us to immortalize our selves, not through God, but by becoming gods of our own.

The process for producing these works has been one of collecting and combining distinct visual elements from one overarching theme, and combining them in a collage-like manner. The elements presented in a piece, though visually cohesive, are meant to be brought together in the viewer’s mind in an intuitive manner. The shapes, colors, and objects brought together in these works exist through a kind of dream logic, whereby these elements ebb and flow between being singular parts and being a singular unit.

The primary conceptual concern was a term used by economists to describe excess consumption and over-saturation. This law of diminishing marginal utility was once described to Kim as follows:

“You purchase one whole cake for $5. It is a delicious cake and you are allowed to eat as much as you please. You are not, however, allowed to take any of it home. So you stuff your face with as much cake as possible. After the second or third slice, you will most likely not be enjoying your cake anymore. But you’ve paid for the whole cake and it would seem a waste to not get your money’s worth. What you do not realize is that the $5 dollars you paid is gone, and that there is only one peak point of satisfaction when consuming anything. Anything after this point is either dissatisfying and burdensome, or completely neutralized in its worth.”

Montgomery (Bum Joo) Kim works primarily with wood and pre-made objects. Kim explores themes of intercultural exchange and globalization and their effects on social consciousness. By looking at traditional imagery through the lens of contemporaneity, the objects and scenarios Kim creates are paradoxical attempts at nostalgia; they are memorabilia from a potential past, present or future.

MONTGOMERY (BUM JOO) KIM is a sculptor from Mexico City, Mexico. He graduated from The School of the Art Institute in 2011 with a BFA with a focus in Sculpture, for which he was awarded the Edward Ryerson Fellowship award. He is currently based in Chicago, and works for the Chicago Urban Art Society as a Gallery Assistant and Project Director for the same gallery’s THE LAND: Artist Residency Program.

More information about Montgomery Kim can be found at www.montgomerybkim.com

Chiara No (b.1981) is a Baltimore artist now living in Chicago, Illinois. Through installations, handmade books and objects, Chiara constructs an environment that is subtlety experiential and feral. She received her degree in Art History from Towson University in Towson, Maryland, studied environmental art at the Glasgow School of Art in Glasgow, Scotland and has recently graduated from the School of the Art Institute of Chicago with a Post- Baccalaureate in Painting and Drawing.

More information about Chiara No can be found at www.chiaraforsale.com

Opening Reception: Saturday, January 7, 7-10pm

Open Hours: By Appointment Only

According to philosopher Glenn Albrecht, ‘solastalgia’ is “the pain experienced when there is recognition that the place [...] one loves is under immediate assault…a form of homesickness one gets when one is still at home.”

In her practice, Kendler explores how human activity has changed our beloved landscapes. She reinvents the idea of ‘the Naturalist,’ who historically scouted and cataloged a vastly different natural world of pristine vistas, unfathomable fecundity, and deep mystery. Though mystery and beauty remain writ large in our contemporary natural world, solastalgia creeps in at the borders, affecting us even when we are unsure what is at work.

Solastalgia’s central work is a cyclorama depicting an arctic ecosystem out of balance. The 15 ft ring of translucent film is suspended in the middle of the room; its detailed sequential drawings referencing an emakimono scroll. Other works include pennants with lacy cut-outs of extinct animals, tiny hand-sculpted figures holding miniature versions of these pennants, and a pyramid of sea urchins, conceived as a monument to ocean acidification.

These paintings on translucent film, delicate drawings and miniature sculptural terrariums—employ the language of myth & magic, and use fragility, ornamentation and intricacy to echo the subtle and mysterious relationships of the natural world.

With Solastalgia, Kendler presents her intimate drawings and sculptures as a counterpoint to the view of nature as something to be possessed. She suggests instead, that it is we who are possessed by nature.

Work by Ron Ewert, Chris Fischer, Mike Kloss, Bryan Lear, Brett Naucke and Triangle Incorporated.

Presenting a breadth of work in photography, video, and new media, the artist’s disparate practices are brought together under a shared sense of ambivalence about leaving the detached cloister produced by an art education. The floor lasts for four years only; intangible though the feeling is, the upset caused by being forced out into the world with only a shirt on one’s back, a degree on file, and a repository of contacts in one’s phone is a sentiment known by all students. What remains to be seen is whether or not everyone concerned will succeed, and how, further, they define success.

Participating artists include Thomson Dryjanski, Brandy Fisher, Emerson Granillo, David M. Hall, Misato Inaba, Absis Minas, Jen Smoose, Jaroslaw Studencki, Kristen Lee Stokes, Eileen Mueller, Casey McGonagle and Hyounsang Yoo.

On the evening of April 15th we will introduce three photographers, Adam Jason Cohen, Roy Gardiner, and David Rasool Robinson. Each with specific styles developed during their career, these photographers have yearned for an exhibition to display their passion.

Since discontinuing the pursuit of his BFA, Adam Cohen has extensively travelled the United States in search of examining the contemporary landscape of leisure and recreation. He has moved from the New York metropolitan area to Boston, and back again, and has finally settled in Chicago this fall. He has plans to see this body of work through until he feels it is completed and ready to be published as a monograph.

Roy Gardiner has perfected a style all his own within concert photography highlighting his chameleon vision as both musical admirer and performer. As a photographer and documentarian, this Chicago native captures and transmutes images as an interpretation of his reality. Trained on his father’s Minolta X-7a, this self-taught artist, began shooting as a favor to his crew. Networking and communicating with an assortment of promoters afforded him the opportunity to remain behind the lens. Specializing in music and concert photography was a natural evolution as he honed his craft recording the community of artists and musicians during the height of the independent hip-hop era of the mid to late 2000’s.

David Rasool Robinson is a self-taught photographer based in Chicago. Seeking to understand the motivations behind people’s behavior he originally was a psychology student at The University of Illinois at Chicago. Around this time David began using photography as a means to further explore his curiosity in regards to human behavior. Having ended his studies at UIC, David briefly transferred to Columbia College but ultimately found that real world trial and error would be the best way for him to hone his craft and find his voice. David’s work primarily focuses on candid portraiture; he seeks to honestly capture his subject while still respecting their personal space and private moments.

Saint Alfred is an independent apparel brand that was introduced in 2005 as a boutique on Milwaukee Avenue. Now one of the top brands in its industry, Saint Alfred intends to retain global awareness while pushing the creativity in the Chicagoland area.

As a part of his solo exhibition at Johalla Projects, he will be releasing an edition of newsprints and a monograph of new work. Also, his first contribution to HomeSchool, a traveling institution for experimental pedagogy, will be held in the space at 4pm on Saturday, March 5th.

Performance by Sean Fader.

Featuring work by Adam Wright, Alex Gvojic, Brian Harlow, Brad Reardon, Chris Lindig, Chris “Turbo” Goff, Harlan Thompson, Josh Kurpius, Joe Suta, Jeff Wright, Ken Nagahara, Max Schaaf, Mitch Cotie, Slippery Pete, Tim O’Keefe and Tim Remis.

Work by Bridey Bowen, Alex Chitty, David D’Andrea, Rob Doran, Ryan Duggan, Ron Ewert, Heather Gabel, Horsebites, Myles Smutney Hyde, Damara Kaminecki, Jenny Kendler, Joey Knuckles, Rick Leech, Monique Ligons, Alexis Mackenzie, Kyle James Morrison, Steak Mtn, Rachel Peacock, Bird Reynolds, Christy Roads, J.L. Schnabel and David Snedden.

Curated by Heather Gabel, Myles Smutney Hyde and Anna Cerniglia.

As we enter into the second decade of the twenty-first century, the influence of Christianity has diminished and, as a whole, Westerners have become more accepting of alternative spiritual customs. The availability of information and the freedom of expression permitted in our society have allowed us access to a myriad of faiths; in turn, our lack of restrictions has led to blend together and formulate new convictions. Similarly, the rate in which we receive and process information, particularly via advanced technology, has effected how we view god and religion. WHO’S YR SHAMAN? is a group exhibition featuring artists who take inspiration from unorthodox belief systems. Their production is a continuation in the history of mystical practice in art and, like their predecessors, they are responding to the climate of their contemporary world. The common thread which binds these seven individuals is their deep admiration and engagement in magic. It is a vital part of each of their creative processes and, as a result, transfers a numinous power into their final conceptions.

Work by Elijah Burgher, Sara Fagala, Terence Hannum, Chad Harrison, Ivan Lozano, Adam Ludwig and Rebecca Walz.

Raffle and auction items include paintings, photographs, drawings, and sculpture by local Chicago artists and ACRE’s 2010 residents. Entrance is $10, which includes 3 raffle tickets and a door gift. Additional tickets can be purchased for $4, or you can get 7 tickets for $20. The silent auction closes and raffle winners are announced at 10:30pm. Funds raised go toward ACRE’s inaugural summer residency.

Featuring work by over 30 artists including Caitlin Arnold, Alex Chitty, Ben Driggs, Paul Ershen, Scott Fortino, Rebecca Gordon, Elisa Harkins, Kelly Kaczynski, Irena Knezevic, Young Joon Kwak, Jason Lazarus, Aliza Morell, Heidi Norton, Jennifer Ray, Matt Siber, Montgomery Perry Smith, Greg Stimac, Brian Ulrich and more.

In a Plain Brown Wrapper is an exhibition of work that would not be shown in many other venues. It is the end of the first decade of the 21st century and yet the discomfort of the majority of people in regard to naked bodies or talk about sex still fuels the debate about what is appropriate for public display, and whether it is pornographic, or worse, obscene.

Public offense and keeping the children safe from images that might “damage them” are the reasons invoked most often when art with sexual content is brought into question. This show opens for discussion the fact that pornography has become the filter through which imagery of the sexual/sexualized body is understood, analyzed, controlled by law, and condemned even by a population that regularly indulges in its fantasies.

The artists in this exhibition are aware of pornography’s grip on America’s cultural consciousness but are not interested in commenting on hypocrisy. Instead they make work that is related to porn and its numerous tropes, and in doing so, make defiant statements about sex, sexuality, gender, power and the role of fantasy in all our lives.

Featuring work by Steven Frost, Elisa Garza, Elise Goldstein, Emerson Granillo, Jesse Hites, Jacob King, Ivan Lozano, Joelle McTigue, Karina Natis, Clare O’Sadnick, Edward Rossa, Joshua Sampson, Talaya Schmid, Kristen Stokes, Jaroslaw Studencki, Bu Tu, Wayama Woo and Meredith Zielke.

Featuring work by Caitlin Arnold, Aron Gent, Maureen Peabody, Daniel Shea and Greg Stimac.

Work by Elise Blue, Ben Russell, Rakele Tombini and Chiara Tommasi.

Johalla Projects and their curators aspire to offer you thought-provoking exhibitions and provide support for emerging and mid-career artists. Because of the economic state of affairs, we decided to try something different. We have organized our first Art Auction Fundraiser. Proceeds from the auction will go towards improving our exhibition space and continuing to support artists in Chicago. This is an event fit for the collector on a budget. Whether you are a seasoned art investor fixing your eyes on a steal or a budding enthusiast looking for that first piece of art to kick start your collection, our auction has something for everyone. Over 50 artists have donated original work. Participating artists are Nathan Baker, Bridgette Buckley, Elijah Burgher, Philip Dembinski, Anni Holm, Aron Gent, Jon Gitelson, Chad Kouri, Daniel Shea, Montgomery Perry Smith, Myles Smutney-Hyde, and many, many others.

Work by In b Flat, Kristin Freeman, Shane Lavalette, Jason Polan, The Free Listening Project and Daniel Shea. Curated by Joseph Rynkiewicz.

The snow globe has seen its popularity remain in our contemporary consciousness due to its ability to delight us with dream-like visuals that tap into our memories. Like the Romantics who invented this agreeable souvenir, we too desire a window into the quixotic and the surreal. Featuring sculpture, photography, and film, Snow Globe is a transformation of our gallery space into exactly what it sounds like – a white, wintry realm. Videos by Sonia Levy and Momoko Seto mediate on foreign ice worlds, while an installation by Johalla Projects in collaboration with Chad Haldeman, Justus Roe, and Phil Schuster set to an audio track by Nick Spiese offers another interpretation on the frigid and frozen landscape. Photographers Aron Gent and Steven Karl Metzer use their cameras to capture the season in a manner that recalls a particular time and place; the traces of winters’ past recognized within their images harkens back to the very device that has inspired our exhibition. Snow Globe offers a new way to experience this kitschy and nostalgic item; Johalla Projects invites you to consider our reflections on the snow globe and place yourself within a winter terrain fashioned by a diverse group of multi-media artists.

Work by Jesse Avina, Melissa Damasauskas, Matt Shaw, Alise Spinella, Julia Stotz, Peter Takamori and Casey Ann Wasniewski.