Tuesday, August 22, 2006

Raid in Chicago | The Pond, Standard & 1/Quarterly

Raid in Chicago |
The Pond Project, Standard, and 1/Quarterly
Featuring: Robert Mellor, Phillippe Hurteau, Nicole Farrand, Alison Smith, Jane Callister, Eric Beltz, Dimitri Kozyrev, Roland Reiss, Brian Ruppel, Liat Yossifer, Habib Kheradyar, Sherin Guirguis, Susan Cooper, Stephen Heer, Mela M., & Max Prisneill
Originally posted on panel-House: November 2003

Raid Projects is a loosely framed collective out of Los Angeles centered on Max Presneill. Presneill has been importing and exporting shows and artists in and out of LA, some of the artists featured in this Wicker Park dispersion are from France and other countries who had stayed in Raid’s residency program and now has arranged a Chicago exchange. The trade between galleries begins here with LA in Chicago at three galleries spread out across a few blocks in Wicker Park and will shift in January with Chicago artists in LA curated through Standard, The Pond, and 1/Quarterly. Importing and Exporting are an important concept between these spaces because it centers on the unique experience of this show in Chicago. When Standard, The Pond, and 1/Quarterly bring work to LA it will be contained in the large Brewery Complex but the spread-out experience of separate galleries is one endemic to the Chicago art experience. “Raid in Chicago” in fact raises the awareness of the experience.

Travelling through the few blocks between spaces has become a commonality but when the spaces come together for more than their individual exhibitions it makes the experience more intentional to try and visit all three. The trip becomes, itself, part of the exhibition. Sure Raid has compiled an interesting catalogue of artists that will be discussed below but one cannot ignore the intentionally episodic exhibitions based around this import.

At The Pond, Susan Logoreci’s “Untitled” colored pencil rendition of an aerial view of a strip mall parking lot where the buildings become squared off loosing their shape, perhaps becoming pixilated, yet you can recognize the building flattening itself out in the negative space of the paper. Dimitri Kozyrev, on the other hand, renders the dynamism of travel from an “8 Hour Drive” in more drastic attempt at combining speed and horizon. Kozyrev, using oil and acrylic plus (I’m assuming) some tape (which definitely has a pronounced presence from many of these artists), for the delicate straight lines in this painting creating multiple planes for the space to unfold where semi-recognizable forms emerge. This emergence in Kozyrev’s painting is comparable to a drive where the outside is witnessed only in segments of small glances but the road that is focussed on forms the geometry of the space. Obscuring form and planar recognition appears to be the goal of Habib Kheradyar’s “Untitled (Black & Blue) where the parallel armatures reverse direction from each other. One segment of the armature making a ‘V’ shape by being higher on the left and right ends of the line and converging at a low point in the center of the top edge of the panel and the other making more of an ‘A’ shape with their peaks in the center of the panel and their ends lower along the bottom edge of the panel. Kheradyar stretches a fabric over this armature, one side blue and the other black, in a diptych like relationship.

Working northward from The Pond Project in the middle of the trip at Standard, it is easy to forget that there are only five paintings in the gallery. Roland Reiss has a small tactile acrylic on canvas painting titled “Remax/Coto De Caza” and the small gray, white and orange house-like structure buried beneath mounds of pea soup paint swathed around it in orderly segments reminiscent of Tom Scheibitz. In “Long island, CA” Susan Logoreci again delivers another aerial view of commercial space, this time in gouache of a shipyard holding to the cubed/pixel-like technique which here comes to her aid with all those shipment containers for big rigs. Nicole Ferrand’s “Proximity” is a large blend of smooth alligator skin texture and clever circling with a green close to the color of the ground in this oil painting. Ferrand’s piece takes some time to gather together the elements inside of it with its subtle color variations.

Finishing this northbound trip through the Jewel-Osco parking lot up Milwaukee to the 1/Quarterly Space on the third floor looking over the street. Having the largest space, 1/Quarterly has been able to have the most work, eight artists and 11 pieces to be exact, compared to Standard’s five and The Pond’s eight pieces. Roland Reiss again shows up with his piece “Remax” and next to it is Jane Callister who has had one small psychedelic drippy acrylic painting in each space. The “Untitled” oil painting by Liat Yossifor is one in a series of fifteen depicting Israeli female soldiers painted completely in thick white brush strokes. It’s texture gives the Yossifor’s painting a dimensionality requiring a panoramic walk around to catch the way the light hits it. The monumentality of Yossifor’s fifteen painting project sounds overwhelming, imposing in fact, if they are all blenched of color and contain this much physical involvement.

This cluster of galleries within a few blocks, easily accessed by foot, banded together to import RAID from LA, set up this trek and will, in a few months, send a blend of Chicago art westward curated by each gallery.

Written by Terence Hannum

NOTE: The Pond and Standard closed their doors a year or so afer this exhibition. 1/Quarterly kept their open a bit longer thoug now, according to their website they are a virtual exhibition space.

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