LITHIUM










 






Fractured: Digital Topographies
Friday, February 8, 2019 at 6 PM – 9 PM CST

A topographical survey traditionally accounts for the natural and artificial features of an environmental landscape. The information gathered allows scientists the ability to assess the space for navigation and planned interventions to the area. This one-dimensional reading of a natural landscape does not account for the complex systems in which these interventions can affect socioeconomics, intrapersonal spaces and power dynamics. In Fractured: Digital Topographies, four artists examine these dimensions as spaces where forces of globalization, technology and social conventions engineer an evolving and unfamiliar land.

Daniel Salamanca Núñez positions six unique video works in a single sculptural object, each of which interrogates ways of understanding human cognitive processes. The constructed terrain of the sculpture allows for new interactions and meanings to emerge. Doug Rosman’s practice tests the limits of self-exploration and excavation mediated by digital technologies, using his own body to be read and mapped by machine algorithm. Katie Wood examines the ways that an individual's sense of belonging consciously adapts to spaces as they change. Wood’s multimedia installation uses cinematic and sonic documentation to reflect on the dynamic landscapes of Chicago and rural Virginia. With the use of interactive software, Jiaqi Zhang places the participant in a city where each action reveals the complex system of social hierarchy. The consequences of a society that surveils and quantifies the moral character of its inhabitants unfolds through decisions made by the player.

Fractured: Digital Topographies is curated by Emily Carranza, Nicolay Duque-Robayo, Rebecca Haley, Lasondra Kern, and Victoria Peña, all students in the Masters of Arts Administration & Policy department at the School of the Art Institute of Chicago. Featuring graduate students of the School of the Art Institute of Chicago: Daniel Salamanca Núñez MFA student in the Painting and Drawing Department, Doug Rosman MFA student in the Art and Technologies Studies Department, Katie Wood MFA student in the Sound Department, and Jiaqi Zhang MFA student in the Art and Technologies Studies Department. Fractured: Digital Topographies was made possible with the support of the Shapiro Center for Research and Collaboration at the School of the Art Institute of Chicago.


Like Waves Against the Sand
An audiovisual performance by Shi Wenhua
Saturday, January 26, 2019
5-7 p.m.

Happy New Year! To kick off LITHIUM’s programming for 2019, we are very pleased to announce our January event, Like Waves Against the Sand, a night of audiovisual performance and selected experimental film video projects by artist Chinese Shi Wenhua. This event is in conjunction with Time Within, the artist’s solo exhibition currently on view at Walford Art Gallery of Wheaton College from Jan. 17th to February 16th. Time Within features Shi’s most recent work, including a 4-channel film/video installation Sense(s) of Time, a two-channel video installation Water Walk, a projection piece Wave Line, and a 360 video VR piece Wish You Were Here.

Shi Wenhua pursues a poetic approach to moving image making, and investigates conceptual depth in film, video, interactive installations and sound sculptures. His work has been presented at museums, galleries, and film festivals, including International Film Festival Rotterdam, European Media Art Festival, Athens Film and Video Festival, Ann Arbor Film Festival, Pacific Film Archive, West Bund 2013: a Biennale of Architecture and Contemporary art, Shanghai, Shenzhen & Hong Kong Bi-City Biennale of Urbanism, and the Arsenale of Venice in Italy. He has received awards including the New York Foundation for the Arts, the New York State Council on the Arts, and Juror’s Awards from the Black Maria Film and Video Festival.



Bring Your Own Beamer: A Night of Silent Auction
Friday, December 14, 6-9 p.m.
Kudos to Rafaël Rozendaal, the inventor of BYOB




Re:
Michal Martychowiec: The Nor’easter Blows
October 19 – November 3, 2018
Opening reception: Friday, October 19, 6-9 p.m.


Tamer Hassan and Armand Yervant Tufenkian: Temporary Fields
November 9 – December 1, 2018
Re-opening reception: Friday, November 9, 6-9 p.m.



Retake, reply, review, respond, remember, resist, return, record, recycle…Re- as a Latin prefix means again, again and again, repetition, opposition, backward, withdrawal.

Re: as a two-volume exhibition revisits history, material history, art history, collective memory, personal remembrance, moments of serendipity, fragments rediscovered…



Re: first opens with The Nor’easter Blows on October 19, and then Re-opens with Temporary Fields on November 9.Re: is curated in collaboration with Jacob Zhicheng Zhang and supported in part by the Adam Mickiewicz Institute. This exhibition accompanies Reminiscing/Reinventing, a SAIC-sponsored graduate symposium on nostalgia and media scheduled to take place on October 26, 2018.

Michal Martychowiec: The Nor’easter Blows
The Northeaster blows
Among all the winds the one
I love the best, because it portends
A fiery spirit and a good journey to sailors

-- Remembrance, Friedrich Hölderlin

Michal Martychowiec once pointed out the conceptual duality of the Northeaster, which is here colloquially termed the Nor’easter and transposed to the American context. The natural phenomenon forebodes an impending harsh weather as well as an uplifting sentiment, but the Romanticist conception of it tactfully ignores potential contradictions in favor of sublimating the mood. At last, the disastrous aspect of the natural phenomenon survives conceptually, albeit rendered curiously implicit.


The Nor’easter Blows features Martychowiec’s three works, The incredulity of Saint Thomas (2016), The shrine to summon the souls(2013), and In memory (2013). Sourcing tangible materials from world history, personal memories, and art historical myths, Martychowiec’s art wittily reflects on private/public events and traumas while not forgetting to poke fun at his own act of appropriation.

Michal Martychowiec (b. 1987) creates conceptual series of photographs, films, drawings, neons, objects, mixed media installations, and environments. He is a visiting lecturer at the China Academy of Art in Hangzhou. Martychowiec’s oeuvre consists of mixed media practice designed in larger series. It is thus always developed hermeneutically around an expanded topic. A new field of his invention is recreation of avatars and other personas.


Tamer Hassan and Armand Yervant Tufenkian: Temporary Fields
In 2013, when Tamer Hassan and Armand Yervant Tufenkian began making the film Accession, they came across a small box of letters while visiting a seed company in Virginia, in which each letter accompanies a tiny envelope of seeds. This marked the beginning of their collecting family histories, stories of particular varieties and mundane details of everyday life. Not knowing where the next letter would take them, they used 16mm to film at unexpected addresses. The film Accession inquiries about the idea of loss central to the practices of ethnographic studies, documentary, preservation of specimens and the archive. Archives, like ethnographic projects, are premised on a view of the cultures and customs they document on the brink of disappearance. The knowledge of seed keeping manifests itself through the repetition of routine gesture that maintains the plant from season to season. This knowledge has not, and ultimately cannot, be preserved in an archive. It is maintained through practice.


Temporary Fields frames the film Accession in an exhibition installation, treating the gallery site as a temporary archive and point of confluence for exchanged seeds, letters and ephemera. In Temporary Fields, different historical, personal, and collective temporalities are brought together to make new relationships possible.

Tamer Hassan and Armand Yervant Tufenkian have collaborated since 2008 and have shown their work in festivals, galleries and cinemas internationally. Tamer studied at the School of the Art Institute of Chicago and currently lives in Chicago. Armand studied philosophy, poetics, and filmmaking at Duke University and lives in Los Angeles where he is completing an MFA at CalArts.


***


Jacob Zhicheng Zhang calls Nanjing, China home and lives in Chicago. He received a BA in Art History and Chemistry from Colby College. After working in art conservation, Zhang is pursuing a MA in Modern and Contemporary Art History at the School of the Art Institute of Chicago. Zhang is interested in varied areas such as postcolonial, post-socialist studies, transnational histories/things/art/subjects, particularly those filtered through "Asia," and queer performance and photography.
 
Adela Goldbard: Concert Baroque
August 31 - September 23
Opening Reception: Friday August 31 6-9 p.m.


“Of silver the slender knives, the delicate forks; of silver the salvers with silver trees chased in the silver of the hollows for collecting the gravy of roasts; of silver the triple-tiered fruit trays of three round dishes crowned by silver pomegranates; of silver the wine flagons hammered by craftsmen in silver; of silver the fish platters, a porgy of silver lying plumply on a seaweed lattice; of silver the saltcellars, of silver the nutcrackers, of silver the goblets, of silver the teaspoons engraved with initials...All these were being borne gradually, without haste -- carefully, so that silver should not bump against silver -- toward the glum, waiting penumbras of wooden cases, of slatted crates, of chest with stout locks, overseen by the master in his dressing gown, who made the silver ring from time to time when he urinated with stately stream, copious and percussive, well aimed into a silver chamber pot, the bottom decorated with a roguish silver eye soon blind by the foam which, reflecting the silver so intensely, ultimately seemed silvered itself...”


-- Concert Baroque, Alejo Carpentier



Alejo Carpentier, one of the most influential writers in Latin American literature, frames the opening passage of his well-known 1974 novel Concert Baroque in silver. The caricaturist description of excessive silverware not only conducted a cacophony of silver sound, but also alluded to the wealth of the New World – in particular, Mexico – due to silver mining. Mexico remains to be one of the world’s largest silver producers.



Borrowing the title of the novel, this solo exhibition features Mexican artist and filmmaker Adela Goldbard (b. 1979) and centers around her video that shares the same name. Concert Baroque is a two-channel video that documents mining activities at the Thornton Quarry, an aggregate quarry in South Illinois that used to supply limestone in the early 20th century for some of Chicago’s iconic architectures. Haunted by the ghostly cavity caused by sand mining in the mountain behind her childhood house in Mexico, Goldbard’s interest in issues related to mining is not only a visceral one but also deeply rooted in her belief that art is a form of resistance.



In this exhibition, Goldbard measures the ecological impact of mining and its kinship to capitalism through visual and auditory analogies. The incredible resemblance between the shape of the abandoned trading pit at the Chicago Board of Trade Building and that of the open-pit copper mine [NN: where?] led the artist to reflect the connection between extraction and transaction. Chicago as one of the largest and most diverse market for commodity trading is constantly converting back-and-forth resources and numbers, putting a price tag on every single ounce of mineral excavated from the ground. But how much does a gargantuan scar left on the surface of the earth cost? As the earth sinks, profits rise. The groans of heavy machinery, the clatters of rocks and stones, the rattling of gravels, the pounding at the wrecking yards...all these sounds unite and start to compose a very different baroque concert.

She Emerged Out of Complete Silence
a video installation by Sophie Leddick
With a performance featuring Kyra Lehman and sound artist Ken Urbina
July 13-29, 2018 Opening Reception: Friday, July 13, 6-9PM


If we remain at the heart of the image under consideration, we have the impression that, by staying in the motionlessness of its shell, the creature is preparing temporal explosions, not to say whirlwinds, of being.
––Gaston Bachelard, “Shells,” from The Poetics of Space


I started collecting shell memorabilia this last year, without knowing why. Maybe I am fascinated by their geometrical patterns. Golden mean, spirals, repetition, symmetry...the process of their formation is a phenomenon of nature, one that is beyond my imagination. Shells are found in burial grounds. There is an allegory of ground up shells on the beaches of Sicily giving birth to new shellfish – the ocean counterpart of the Phoenix rising from the ashes. They are blueprints for living beings. The vulnerable soul residing in the body is like the squishy animal living inside the shell.

The shell is a symbol of sound. I have feared the sound of my voice since childhood. Retreating into my body and being quiet is how I reacted to the intensity of the world. I still feel safe in silence. In silence I contemplate death, endings, the structure of love and how it is related to your heart. Your actual, physical heart. Like hearts, shells have chambers. Bachelard speaks about the Lithocardites dreamed up by J. B. Robinet. Lithocardites are heart shells, “rough drafts of a heart that will one day beat.”

9 years ago, my doctor discovered that I have a benign heart murmur through echocardiogram. Echo-cardio-gram. Echo of the heartbeat. In Greek mythology Echo gets punished by a jealous wife and loses her ability to speak; she can only repeat the last phrase of what she hears. Echo falls in love with Narcissus but is rejected by him, and she lives out the rest of her life in the solitude of the hilly earth contemplating her mortality. I imagine Echo laying in the dimple of a glen. She might have brought her hand to her heart and felt its beat under her skin and her rib bones, which sometimes feels paper thin. Perhaps the body should start to evolve so that the heart is protected a bit more. Perhaps I needed a dress of armor, one that allowed the heart to be placed into the body, covered, locked in place, and protected.

There is violence in emergence. The act of leaving a shell is painful and courageous. The act of utterance is imperative. So, why must we speak?

We must speak on behalf of our heart.
––Sophie Leddick


Sophie Leddick is a multi-media artist working in performance, film/video, and writing. The origins of her practice are rooted in classical ballet. Framed by the human condition, through language (writing) and movement (choreography) her work formally explores relationships between people, the inner self (the profundity of being and becoming), sound and the inadequacy of language for conditions like, loss, love, and grief, inner and exterior space (confinement, liminality), and physicalized metaphor. She earned her MFA from the School of the Art Institute of Chicago.


June 8 - 24, 2018
Famished Youth
Bobby Gonzales | Lauren Steinberg

Possible time, unending liminality, an anxious lisp, potent moments, a retired self, former angst, age appropriate, weakened knees, a hanging gasp.

There is a moment where we begin to know time in a bodily sense. It is not an immediate shift, but a slow drip that leaks in. This plodding corporeal change sets off an awareness of our mortality and the slipperiness of permanence–we begin to know youth only as it has left us. While youth may have come and gone, there is always unfinished business. Our attempts to close the loop on unrequited love, endeavors incomplete, or trials never to be passed, pull us back to “what-ifs” and questions of potential time spent elsewhere, no matter the limits of our bodily capacity.

Famished Youth is a reverb; a crooked glance that returns to the pleasures and tropes of naive dreams. Through the reorientation time, distance, and age allow, Bobby Gonzales and Lauren Steinberg grapple with their younger efforts at forming identities. Attempts at capturing a self are tilted and focused. Somatic archives saturated with affect, desire, and longing are revisited, often with the same feelings that incited their creation. Fragments of earlier projects from their practices are reconsidered and expanded, either by tangent, reversal, or re-performance. These works provide a temporal fulcrum for understanding past selves, their residual presence, and how feelings often linger past youth’s supple bodily contours.

                                                                                                                        – Jameson Paige, Curator  


Bobby Gonzales (b. Delran, NJ) is a multidisciplinary artist based in Chicago, IL, whose work explores the intersection of painting, performance, and photography. He received his BFA in painting from Tyler School of Art in Philadelphia and recently completed his MFA in photography at the School of the Art Institute of Chicago. Most recent exhibitions and performances include participation in Merce Cunningham’s “Field Dances” at the Walker Art Center (Minneapolis, MN), group exhibitions at Das Institut für Alles Mögliche (Berlin, Germany), The Milwaukee Institute for Art and Design (Milwaukee, WI), The Galleries at Columbia University (New York, NY), Zurcher Studios (New York, NY) and solo exhibitions at Vox Populi artist collective, where he was an artist member from 2012-2014 (Philadelphia, PA). Bobby is currently a HATCH resident at the Chicago Artist Coalition.

Lauren Steinberg (b. New York, NY) is an interdisciplinary artist based in Chicago who graduated with an MFA in Performance from the School of the Art Institute of Chicago. She creates queer uncanny spaces by borrowing from her vocabulary of: endurance performance, clowning, stunt work, muscle memory, drag-king routines, inflation and deflation to question our set environments and expectations. She has performed at multiple locations including HEREarts Center New York, Mimosa House London and the Museum of Contemporary Art, Chicago.



LITHIUM is pleased to announce a series of mini yet independent one-person shows, ONE, that will stretch throughout the month of April. One artist a week, this curatorial program aims to open up the gallery space as an experimental playground and to build an immersive environment featuring only two to three works by each artist. ONE is a linear arrangement abiding by the rule of “one show, one artist.”
Artists and their respective exhibition dates are:


Sunday Lai, Sleepless Lights, April 6-11
Born in 1985, Lai is a multimedia artist working in performance, video, installation and painting. Lai graduated from the Academy of Visual Arts at Hong Kong Baptist University in 2009 and is currently an MFA candidate at The School of the Art Institute of Chicago. Keen to the latent city order, Lai creates work that is deeply rooted in performing with mundane objects -- a practice that both reflects and challenges the norm of daily life. Being an artist is a means by which she vents and executes her desire to control. With a dash of playfulness, she tries to show different forms of urban anxiety through a series of interventions, hoping to find pleasure in resisting order and reality.


Adam Hurwitz, Pause/Play, April 13-18
Using computer animation software, Adam Hurwitz creates looping, non-narrative videos which attempt to convey the texture and melancholy of memory — the interstices of life rather than specific remembered events. They are informed by his experience as a painter and exist in a world between painting and film. Hurwitz lives and works in New York City. He received his M.F.A. in painting from Yale University and has exhibited in solo and group shows in New York City, Boston, San Diego, Maryland, and elsewhere. Grants include the Joan Mitchell Foundation and a 2014 NYFA grant in Digital/Electronic Arts. He is a recipient of MacDowell Colony Fellowships in 2015 and 2017, and Yaddo residencies in 2016 and 2018. His work has been reviewed in The New Yorker and he was the featured artist in the Fall/Winter 2015 issue of the Tupelo Quarterly. Recent exhibitions include Currents New Media Festival in Santa Fe, NM, 2017; the traveling exhibition, “Real-Fake” in 2017/2018; and his 2018 solo exhibition, extraOrdinary, at STUDIO10 Gallery in Bushwick, Brooklyn.


Mitch Patrick, Unending Sketch, April 20-25
Mitch Patrick's studio practice encompasses a range of digital media, 3d printing, and drawing processes. Much of these practices look at the function and representation of pixels in digital images through the use of glyphs and typography. His 3d printing practice rigorously investigates the bildpunkt, a German photographic term meaning "picture point" and explores its recent history (as a pixel) through current cosmological research programs. His looping videos and performance work exhibit digitally constructed tableaux detailing the peculiar interactions between viewers, screens, pixels, and time. Mitch holds a BFA from the University of Montevallo (2007), and a MFA from Brooklyn College (2013).




As part II of Alternating/Currents, Theo Chin, Anneli Goeller, Jillian Musielak, and Amanda VanValkenburg will re-exhibit their metamorphosed works from
March 9 to 25.

In addition, Kiwi Ivashkov, Orr Menirom, Saul Nelson, and Morgan Rozacky will contribute their writings as responses to the featured works. Their texts will be included in the brochures available at the re-opening reception: March 9, 6-9PM.


Alternating/Currents pay homage to Frédéric Moffet’s brilliant class Shapeshifters at SAIC.
Join us on Saturday night, February 24, for a series of sound-based performances by Lucas Reif, SILVER GREY SEA (M. Sage + M. Booth), and Shi Zheng.

*A rehearsal of the show will be held on Friday night, February 9, at 7PM.

Featured artists:Lucas Reif (b. 1997 Seattle, WA) is a Chicago-based artist and designer working across print, publishing, and sound. His work experiments with the intersections of these mediums, often drawing from the rich collaborative landscapes of punk and hardcore music communities. Much of his current visual practice is rooted in web-based image scavenging and appropriation. He uses various printing processes as a means of solidifying and sealing images and image fragments, transcending the digital space and creating physical artifacts. The printed matter becomes record of an information transfer within a larger narrative, a sort of image system containing interlocking visual languages and cultural residue. His ongoing publication Disruptor was recently featured in Juxtapoz magazine, with the fifth issue of Disruptor set for release in Spring 2018. Lucas is currently a BFA candidate at the School of the Art Institute of Chicago.

SILVER GREY SEA is a Chicago-based musical duo (guitar, electronics / electronics, percussion). Ambient atmospheres and minimal improvisation for color-block terrain. Bring a pillow.

Shi Zheng (b.1990) graduated from China Academy of Art in 2014 and is currently based in Shanghai and Chicago. Using digital media and technologies, Shi’s creations range from digital music, audio-visual installations and live shows. Shi’s individual and cooperated works have been presented in various venues including Sound Art China, FILE Electronic Language International Festival, Ars Electronica, Institute of Contemporary Arts London, Castello di Rivara, The Lumen Prize, Shanghai 21st Century Minsheng Art Museum and OCT Contemporary Art Terminal Shenzhen.



Pseudo- & Hetero-, the respective prefixes for two literary terms, pseudonym and heteronym, will frame the dialogue between Tao Hui and Barry Doupé and open on January 12th, 2018. While a pseudonym, literally meaning a “false name” in Greek, is a pen name adopted by an author; a heteronym, in literature, defined and developed by Portuguese writer and poet Fernando Pessoa, is a separate identity invented. Under a pseudonym the author is still himself as he writes, whereas for a heteronym, the author excused himself for a fictive writer who lives and writes independently. Surpassing the mere change of “nym” (name), Pseudo- is a temporary existence, a part-time alter ego with a disparate appearance, gender, and belief. Hetero-, in reverse, bifurcates, multiplies, and dissolves into different and distinct identities.

In Tao’s videos Talk About Body (2013) and The Dusk at Teheran (2014), the self takes up a proactive presence under a pseudo identity. In Talk the artist himself, dressed in the attire of an Islamic woman, describes his body parts in anatomical terms to a silent crowd in a bedroom. The appearance of an Islamic woman enwraps but does not conceal the protagonist and his speech. Dusk reenacts a real speech––a lamentation about missing out marriage and family–– by Hong Kong singer Anita Mui at her farewell concert, a month before her death of cancer, through
an Iranian woman in a cab on her way home. The shift of speakers from an ill, middle-aged woman who owned a successful singing career, to a vital, young woman who
is prohibited

In Doupé’s computer-animated films, The Colors that Combine to Make White are Important(2012) and Ponytail (2008), the characters live on the contingencies of automated animation cycles and the text-to-speak converter that translates the artist’s streams of consciousness into
foreign languages. The artist’s authorship is taken over by his characters who, as the film progresses, begin to explore themselves and achieve heteronymous identities. There is a
constructed world in both works from which the insider cannot escape and to which the outsider, the creator and the viewer, have no access.

The opening reception of Pseudo- & Hetero- on January 12th at 6PM will also feature a lecture performance of Maryam Taghavi.

A full screening of Doupé’s The Colors that Combine to Make White are Important (2012) wil be held a week later on the January 19th.

Tao Hui (1987) was born in Yunyang, Chongqing, China. He graduated from Sichuan Fine Art Institute with a BFA in Oil Painting in 2010 and currently lives and works in Beijing, China. He won the special award of Contemporary Art Archive from Sichuan Fine Arts Institute in 2008 and ‘Art Sanya & Huayu Youth Award’ in Sanya in 2015. He also won the grand prize of 19th “Contemporary Art Festival Sesc Videobrasil”, and was shortlisted for “HUGO BOSS ASIA ART Award for Emerging Asian Artists” and International Competition sector of the KINO DER KUNST festival in 2017. His solo exhibitions include ‘Not at all’, OCAT Xi’an, Xi’an, China, 2017; ‘Now & Then’, Galeria UNTILTHEN, Paris, France; ‘New Direction: Tao Hui’, solo project at UCCA, Beijing, China; ‘1 Character & 7 Materials’ at AIKE-DELLARCO, Shanghai, China, 2015. Group exhibitions include: ‘The mulberry forest becoming ocean’, Esther Schipper, Berlin, Germany, 2017; ‘Why Not Ask Again: 11th Shanghai Biennale’, PSA, Shanghai, China, 2016; ‘Bentu - Chinese artists at a time of turbulence and transformation’, Fondation Louis Vuitton, Paris, France, “Hack Space”, chi K11Art Space, Shanghai, China, 2016; ‘Contemporary Art Festival Sesc Videobrasil: Southern Panoramas’, São Paulo, Brazil, 2013, 2015.

Barry Doupé (b. 1982 Victoria, BC) is a Vancouver based artist primarily working with computer animation. He graduated from the Emily Carr University in 2004 with a Bachelor of Media Arts majoring in animation. His films use imagery and language derived from the subconscious; developed through writing exercises and automatic drawing. He often creates settings within which a characters' self-expression or action is challenged and thwarted, resulting in comic, violent and poetic spectacles.His films have been screened throughout Canada and Internationally including the Vancouver Art Gallery (Vancouver, BC), the Art Gallery of Nova Scotia (Halifax, NS), Ann Arbor Film Festival (Ann Arbor, Michigan), International Film Festival Rotterdam (Rotterdam, the Netherlands), Anthology Film Archives (NY, New York), Lyon Contemporary Art Museum (Lyon, France), Pleasure Dome (Toronto, ON), MOCCA (Toronto, ON), Whitechapel Gallery (London, UK), Centre Pompidou (Paris, France) and the Tate Modern (London, UK).

Maryam Taghavi is a Tehran-born artist currently living and working in Chicago. She makes photographs, installations, videos, publications, and performances that are characterized by their ephemeral nature. She graduated with an MFA in Performance from The School of the Art Institute of Chicago where she was the recipient of the New Artist Society Scholarship. She has performed and exhibited at venues such as Queens Museums in NY, LAXART in LA, Ex Teresa Museum in Mexico City, Xpace in Toronto, and Sazmanab in Tehran.




Alternating/Currents will warp time and open on December 8, 2017 and March 9, 2018, featuring artworks by Theo Chin, Anneli Goeller, Jillian Musielak, and Amanda VanValkenburg.

Alternating/Currents are an exhibition series that thinks one concept through two iterations and provides the artists an alternative opportunity to re-exhibit the works in a different format.


Alternating/Currents pay homage to Frédéric Moffet’s brilliant class Shapeshifters at SAIC.


LITHIUM will present A Sounding Line, an evening of reading and lecture performances by Maryam Taghavi, Joe Demes (feat. Eve Kalugin & Caroline McCraw), and Sammi Skolmoski, on December 1, 7–9PM.

These performances cast a line that measures and marks the distance
of a voice, which is also the distance between artist and audience.
One artist will invite audience to be a part of the work, by synchronizing certain physiognomic movements of singing; one will divide into a trio
and, though maintaining a physical space, surround audience with voices that reminisce, reason, and repent; and one, who is a little shy, will chooseto stand further back and direct the audience’s attention towards shifting images



The works presented will be more or less new works. Some may take up the aesthetics and modes of performance more than others. Others might be lifted through method or form – performance as per form. Works more or less continuous and elaborate, works more or less discontinuous and truncated. Still, works as in more than one and more than one working, more or less. So, the labor of the work, the working body, and the working of attention – attention is worked and it is paid. Paying attention allows the work to more or less appear ecstatic at the precise moment of viewing, or to be more or less ecstatic once it disappears and is forgotten.


LITHIUM will present A Dosage Form, a dosage-free capsule for the works and labors, on November 10. 6 to 9PM. Though empty, it is certainly not void. It encapsulates air, space, and time.


An event curated by LITHIUM and David Hall, featuring Sherae Rimpsey, Julia Pello & David Hall,
and Máiréad Delaney on November 10.
LITHIUM is excited to announce the grand opening of its gallery space and inaugural exhibition, Millennial Millionaires and the Survivor’s Club, which brings together witty work by five international artists, Fang Di, Lin Aojie, Mia+Máire, and Angeliki Tsoli. Funny but honest, with a dash of bittersweet satire, these works reflect our contemporary experiences under uneasy economic and social pressures: the financial struggles of being an artist; the product of cultural invasion; the loss due to displacement; and the omnipresence of media and advertisement. Revolving around the -ism that starts with the letter “C,” this is a feast with your fellow “millennial millionaires” you will not want to miss.

Opening reception on Friday, October 13, 6-9pm.

Fang Di is a Chinese artist based in Shenzhen, China, and Port Moresby, Papua New Guinea. His works delve into the evolution of urbanization and reflect upon the rapid and chaotic changes in today’s society. Fang’s work has been exhibited internationally, including at Vanguard Gallery, Shanghai (2017); Today Art Museum, Beijing (2015); Guangdong Museum of Art, Guangzhou (2015); and Museum of Moscow, Moscow (2014). Fang received a BFA from Guangzhou Academy of Fine Arts and a MFA from Maryland Institute College of Art.

Lin Aojie is a Guangzhou-based artist who previously worked as a painting assistant and product packaging specialist. As a multimedia artist, he transfers personal stories and experiences to photography, video, drawing, and installation. Lacking no humor and satire, his work examines the power plays of the art world and the relationship between art and artist. Lin participated in the Shanghai Biennale (2016) and was shortlisted for the Huayu Youth Award (2016). Lin received his BFA and MFA from Guangzhou Academy of Fine Arts.

Mia+Máire are the collaborative twosome Mia Ardito and Máire Witt O’Neill, based in New York and Chicago. Via their television network, Soft Pants Studios, Mia+Máire create and perform in the conceptual surreality TV show Sad Girls Club TV and the new Maggots Club TV. Ardito received her BFA from Maryland Institute College of Art. O’Neill received her BFA from Maryland Institute College of Art and MFA from the School of the Art Institute of Chicago (SAIC).

Angeliki Tsoli is an interdisciplinary visual artist from Athens, Greece and is currently based in Chicago. Her work explores the political, poetic and displaced body through actions in public space, photography, video, installations and experimental writing. She is interested in radical education through the medium of performance. She received Diploma of Visual and Applied Arts from the Aristotle University of Thessaloniki and is pursuing her MFA in Performance Art from SAIC.

A public screening on Friday, October 20th, 6-9pm will feature Infinite Loop (2015) by Double-Color Balls (Lin Aojie + Yu Yiyi). The three-hour video pieces together the daily routines and conversations of the artist duo over five months. While trying to save up for an iPhone 5s by working as hourly painters, they wait in vain for their lump sum payment and come up with hilarious money-saving strategies. Infinite Loop poignantly critiques on the economy of artistic labor while alluding to millennial poverty as a broader social issue.

Exhibition opens from October 13th to 29th, 2017.

LITHIUM will have a public screening of Inifinity Loop (2015) by Double Color Balls Group (Lin Aojie + Yu Yiyi) on Friday, October 20, 6–9 PM. This video is 3 hours in length, in Cantonese, with Chinese and English subtitles.


LITHIUM is a Chicago-based gallery in favor of thought-provoking audiovisual art that includes duration as a dimension and unfolds over time.


LITHIUM
1932 S Halsted, Suite 200 Chicago, IL 60608 lithium.gallery
info@lithium.gallery | 773-998-1712
Gallery Hours:Saturday 1-6 p.m., and by appointment


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