Ian Weaver’s work utilizes drawing, sculpture and film to act as metaphors for fracture. He is interested in the construction of identity and memory, and how individuals and communities use commemorations and their archived personal/communal objects to represent these constructions. His work centers on the now defunct “Black Bottom” section of the Near West Side of Chicago where African American residents once lived. For this, he has constructed a fictive history for this destroyed community utilizing elements such as museum vitrines, maps and documents, sculpture, and film. Recently, he has extended this construction to the creation of a fictional group, the Black Knights – part medieval knight, part Black Nationalist – who lived within the community during the 1940s.
Residents from United States
Pilvi Takala’s primary artistic practice is practice in its most direct sense. Takala carries out interventions in everyday life, using her body as artistic material, placing it in humorous predicaments. Her own feelings evolving in the course of an intervention, often-nuanced shades of embarrassment, reveal the contours of society’s expectations. Her works clearly show that it is often possible to learn of the implicit rules of a social situation only by its disruption. Takala mixes in her work the reality of documented actions with staged portraiture. She quotes and stretches the limits of different genres including the one of being a performance artist, a director, and a documentary maker.
Pilvi Takala (born 1981 in Helsinki, Finland) lives and works in Helsinki and Istanbul. Takala received an MFA from the Finnish Academy of Fine Arts and was artist-in-residence at Rijksakademie. Her awards include Dutch Prix de Rome 2011; Finnish State Prize for Visual Arts; and Emdash Award 2013. Her solo exhibitions include Bonniers Konsthall, Stockholm; Site Gallery, Sheffield; Künstlerhaus Bremen; Kunsthalle Erfurt; Kiasma Museum of Contemporary Art, Helsinki; Turku Art Museum; Kunsthalle Lissabon; and Sorlandets Kunstmuseum, Norway. Her work has been shown in MoMA PS1 and New Museum, New York; Palais de Tokyo, Paris; S.M.A.K., Ghent; Kunsthalle Basel; De Hallen Haarlem; Wiels, Brussels; 4th Moscow Biennial; Witte de With, Rotterdam; 4th Bucharest Biennial; 5th Berlin Biennial; and the 9th Istanbul Biennial.
Residents from Finland
Paint has the binary ability to summon and refuse, reveal and conceal, beautify and debase. Aaron Collier’s work attempts to revel in these manifold offerings, for in so doing, the resulting imagery is consonant with our tangled interaction with the world. Routine are encounters marked by disclosure and obstruction; we happen upon phenomena that we are seemingly able to know, grasp, and understand along with those we fundamentally cannot. Paint fittingly pictures this paradox, for painting itself is an in-between act, a simultaneous doing and undoing. Collier’s paintings, drawing and collage, thus traffic more in fragment than in chronicle. Images that indefinitely “suggest” allow him to situate the viewer and himself as deferential participants, adventuring with the image.
Aaron Collier lives in New Orleans where is an Assistant Professor at Tulane University. Solo exhibitions include Cole Pratt Gallery and Staple Goods, an artist cooperative in the St. Claude Avenue Arts District. His work has been included in group exhibitions at the Contemporary Arts Center and the Ogden Museum of Southern Art and has been featured in New American Paintings. Collier’s paintings are represented in collections such as the Boston Medical Center, Iberia Bank and New Orleans Museum of Art. He has participated in residencies at the Joan Mitchell Center in New Orleans, Ragdale Foundation and Virginia Center for the Creative Arts.