May 10th 2019

Messier Objects

@ 062 Gallery

1029 W 35th St, Chicago, IL 60609

Opening Friday, May 10th, from 6PM - 9PM

On view through Friday, June 7th

062 is pleased to present Messier Objects in collaboration with the Department of Photography at the School of the Art Institute of Chicago, organized by Jan Tichý.

Please join us for the opening reception on May 10, from 6:00 PM – 9:00 PM. This exhibition continues through Friday, June 7, 2019.

My vision was a long time coming / I squinted through
my Panasonic lens / I transferred what I [knew] / Through
my telescope / I saw a soft belly and a man’s hands / the
body of a man photographed where it is soft / a cornice / a
cornerstone of light / a three dimensionality skittering around
the confines of a room / I saw a year of faces delivered to
my doorstep / a holy place / a ritual locale / I never stopped
believing / You my progeny of objects / would deface or
decode me

I saw nebulae as points of confusion and frustration / I gritted
my teeth [eye] against its glass / I came away marked with a
moon in each socket / I became a man marked from the act of
looking / I made pictures slick on the edges so their [messes]
held up in the heat of each print / in the 111th exposure /
I printed a cityscape on muslin / I exposed one bloodline to
each side of cloth / my bloodtie rubbed against its weave

I counted / [M24, M25, M26…] / I nodded off

I tilled the heavens for non-comet objects / I scoured the
dang thing / I went fishing / And my gaze was a bullet [I bore
a hole in the chin of a trout] / I shot my gaze into space / I
succumbed / I grew more certain

A photograph is an unpredictable image / every time you click
it jets away from you / the vista shutters, peaces out

I saw the body of my progeny / flung up into the big part of
my own head / I saw the edges of my box / I saw my lover’s
silhouette against the lake / I saw the distributions of our fates,
right there, distributed in the boxes of our junk / I saw the
shape of my lover when he shook his long hair out / changed
the sheets on the bed / pulled back the latch on the floor / and
threw crumbs to the lakefish there

I framed myself good / I sucked up to Napoleon / I needed the
money [moola] / I signed my name to each document / I put
the carbon up there / it made each non-comet object / rarer
[more obscure] and smudgier / more beautiful / and difficult
to find

M59 – M60
I wavered / I devoured each terminal image / I developed
pictures in my gut / that was how I wrung the stars out / fiber

M66 – M71
I believe in the land of my lover / I have faith in its democratic
impulse / I put my body next to his / and we slept / and woke
up to chat about the future

M76 – M83
I put my ephemerides between the baseboard and the
mattress/ I left the non-comet objects in the sink / I poured
the deep-sky objects down the drain / In the wrinkles of our
sheets / I saw the Cooling Tower take shape beneath me /

M84 – M88
I stroked the sides of my box / I shone a beam of light on all
its edges / I pushed the fish through the gutter / I nodded off

M89 – M110
I wept in reverse / the tears assembled themselves back into
my eyes / when we moved to chicago / I arranged myself
splay-legged behind the full mirror / I was beautiful and
confusing / I put the lens of my telescope to my the soft part
of my lover’s belly / that was how I made it night / I clicked
the shutter / I pressed the icon / I rose up singing / I gave
up drinking / I cussed, but only softly, and in my sleep /
Were comets [random visitors to our solar system] / were
photographs [six-tailed objects passing in the night] / or were
they [ours]

Text by Leah Gallant

Participating Artists:

Travis Mitzel
American, 1989
Explorations of No Space, 2019
Cart, objects, prints, various dimensions
In Bruno Latour’s book Down To Earth, the planet is described as a world without space. Earth with no more frontiers or new landscapes. A world with nowhere to run. This will be increasingly problematic in an era of catastrophic climate change. Explorations of No Space examines the absence of the common world and how an individual could survive, remediate, and document a toxic landscape.

Stephanie Schwiederek
American, 1990
A Tendency Toward Fever, 2018-2019
Archival inkjet prints, various dimensions
“Reasonable Sentiment: Everything works out, but nothing lasts. Amorous Sentiment: Nothing works out, but it keeps going.” (Barthes, A Lover’s Discourse, 1977). A Tendency Toward Fever documents my relationship with my partner Dennis through staged photographs. Since moving from the East coast we have found much difficulty in finding solace in one another and our new space. I am concerned with the notions of intimacy, familiarity, masculinity and femininity presented and assumed, and the idea of contentment.

Efrat Hakimi
Israeli, 1982
Zions, (Chapter 1, Illinois) 2019
video installation
‘Zion was everywhere but Zion’ (Altneuland,Theodor Ze’ev Herzl, 1902).
Once, utopian destination(s) for social imaginaries and devotional fantasies, multiple Zions were realized in the 20th century. Chapter 1 explores the city of Zion, Illinois, as site of religious narratives and nuclear nightmares. Founded in 1901 by the evangelist John Alexander Dowie, Zion was once a center of advocacy for flat earthers and later the home of a dual reactor nuclear power station. Zion Nuclear Power Station was retired in 1998, the decommissioning of Zion is ongoing today.

Ed Oh
American, 1992
Artificial Imagination, 2017-2019
Archival newsprint and resin casts, various dimensions
The portrait photography found on the cover page of Chicago Tribune’s Inside Shopper weekly reminds me when we first made eye contact. Sitting outside in stacks, every issue circulates on sunday and features a different portrait on the cover. Using a 52-week archive of cover pages, I produce multiple observations of this archive. October 8, 2017, a year of observing since we first made eye contact, I remember Inside Shopper staring back.

Sage Stafford
American, 1993
Selling the Old, Buying the New, 2019
inkjet prints, various dimensions
In this cultural moment during which revealing the body is popular I investigate the notion of modesty and question how this materializes in my wardrobe. This series of photographs documents the change in my attire after marriage to a Muslim man. While trends in modern day fashion expose the body, I hunt to find plus-size clothing that covers my own, using online shops as a platform for finding and selling clothes. These images question garment construction and their varying levels of modesty while speaking to the necessity of utilizing broader online clothing markets.

L Koo
American, 1990
Image Space Series III, 2019
Paper, objects
Moving between utilizing photographic processes and building in physical space, emerges the idea of photographic image spaces. The relationship that exists between the two and three dimensional, where object becomes image and image becomes object, where space becomes a function of time that is layered and folded back onto itself as a constant shift. With this particular iteration of the exploration, I question the need for the image to be physically present, or if the notion of it is enough.

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