Best Bets | Antena

In 1996 Miguel Cortez cofounded Polvo, a Pilsen collective whose ventures included print and online magazines and one of the city’s best independent galleries. Polvo closed the gallery in 2007, but Cortez’s new space, Antena, is keeping up the same high standards of diverse and thought-provoking work. October brings a solo show by Patrick Lichty, whose CV includes work with anticorporate pranksters RTMark. Lichty’s Spire Reloaded comprises various electronic depictions of Berwyn’s late, beloved “car-kebab,” from straight-up photos to an online “virtual sculpture” and a ten-minute expansion of the 12-second appearance of the spire in Wayne’s World.

That’s followed in November by Time Elapse, curated by Amelia Winger-Bearskin, who’ll present her own video art as well as that of a selection of artists largely from Austin, Texas. A trained opera singer, Winger-Bearskin takes a meditative approach to everyday experiences, creating mesmerizing work that combines the layered harmonics of mantra-like vocals with blurry, manipulated imagery of landscapes and bodies. A continuation of a project begun last year at Polvo, Time Elapse will also feature work by Joseph Winchester—whose elegant abstractions evoke the history of experimental film, video, and sound art—and Lanneau White, whose lo-fi battledork aesthetic evokes the west coast performance troupe, My Barbarian, and the Dungeon Majesty fantasy serial, but adds depth by addressing issues of race and otherness. Antena is just one facet of the bustling Pilsen art world; Plaines Project, Vega Estates, No Coast, and Golden Age are all worth visiting in the coming months too. Arrow Spire Reloaded opens Fri 10/10, 5 PM, and runs through 11/8. Time Elapse opens Fri 11/21, 6 PM, and runs through 12/20. Sat noon-5 or by appointment, 1765 S. Laflin, antenapilsen.com. —Albert Stabler

http://www.chicagoreader.com/features/stories/fallarts08/art/antena/

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see more photos here: http://picasaweb.google.com/lapsus05/JaimeMendozaOpeningAugust292008Antena?pli=1#

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Fall Openings: Art Not Necessarily for Sale

Many new and established art galleries function as gallery spaces and homes. Outside the clusters of galleries, these spaces, such as Pilsen’s Antena, Oak Park’s Suburban and Albany Park’s Swimming Pool Project Space make room for art beside the furniture. Profit is not the motive; rather, it’s all about exposure, for artists and viewers, and creative expression. “We have an art world that doesn’t value artists,” notes Michelle Grabner, co-owner of the nine-year-old Suburban gallery. “Dealers and curators are running the shots, artists really don’t have the kind of control and decision making they once had.”

Filling that void, art spaces such as Suburban and Antena allow artists free reign in terms of artistic and curatorial control. Antena, a new space that opened in March, is run out of founder Miguel Cortez’s apartment. “Artists are allowed to repaint the walls, transform the space for a show,” Cortez says, who shifted focus to his new space after running Pilsen’s Polvo gallery for years. Polvo continues to publish a quarterly magazine with artist profiles.

Art openings at both Suburban and Antena provide a gathering spot for the arts community. At Suburban, openings now take place on Sunday afternoons in the yard of Grabner’s house, with bratwurst and beer during the warm months, coffee and sweets during the winter. Antena’s openings, which take place in Cortez’s apartment, are equally informal. And through these events artists gain access to networks and visibility.

“We are neither a commercial nor a non-profit space,” notes Grabner. And the same goes for Antena, which aims to be a forum for artists in need of a middle ground alternative space.

Swimming Pool Project Space, opened July 2008, appearing as a commercial storefront, provides a springboard for emerging contemporary artists from Chicago and abroad. Pool parties—openings that take place around the glossy blue wooden floor that resembles a swimming pool—provide a place for artists and community members to interact. “This where people meet, artists or not, it’s public space where conversation occurs, not a bar but an art space,” says co-owner Liz Nielsen. The next exhibition, “Video as Video: Rewind to Form,” is curated by art critic Alicia Eler and artist Peregrine Honig, and opens September 20. (Marla Seidell)

http://art.newcity.com/2008/09/03/fall-openings-art-not-necessarily-for-sale/

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Tania Kupczak

Tania Kupczak, 3 losses (still), 2008.

A young woman in a heavy coat trudges through snow-covered fields. It’s unclear how much fun this is for her, but on a hot Chicago summer day, Seattle-based artist Tania Kupczak’s encounter with the deep snows of Vermont—the subject of her video 3 losses (2008)—is a refreshing reminder we won’t always feel as though we’re moving through a soup of grime and humidity.

In the video, the artist’s ambiguous voiceovers allude to romantic troubles without specifying what has happened or who was involved. The second of its three sections, which begins with a tearful Kupczak lying in the snow and ends with her calmly continuing her journey, clearly suggests a connection between her stormy external and internal conditions. But this isn’t a cheesy chick flick: Kupczak cleverly incorporates the weather into the monologues she delivers to unseen listeners, explaining that one relationship featured “a flurry of touches, but no accumulation.”

In her mixed-media installation snow_leylines (2003), Kupczak plays a recording of herself walking the same path through the snow at different times. As we hear every crunch and crackle of her steps when the temperature is low and then watery, sliding sounds as it rises into the 40s, the artist’s catalog of her everyday movements—she recites the temperature and other details (“full moon”)—leaves us in a meditative state. Kupczak’s meteorology-inspired abstract “system maps” (pale networks of symbols such as clouds and raindrops) are less compelling than her video and audio work, in which she reveals the beauty of our mundane struggles with winter.

— Lauren Weinberg

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What Makes a Man Start Fires?: A new exhibit at the antena gallery mediates the relationship between the viewer and the world

By Emma Ellis

You haven’t felt the meaning of stimulus overload until you’ve felt it in the hands of artist Noelle Mason. Immediately upon walking into the one-room antena gallery, a barrage of slaps, gasps, and giggles welcomes the newcomer. You progress through the physically interactive show, weaving across cables, tiptoeing over broken bits of a chandelier that lies crashed in the center of the gallery’s floor, and bending over to view certain pieces properly. While standing near the two walls where about half the pieces are located, you can’t even step backwards without bumping into “Li’l Sparky”—an electric chair.

Using an intrusive shock therapy-type method, Noelle Mason created the show “What makes a man start fires” with the intention of getting people “to act, to really metaphorically start this fire—to cause change towards something that is better for us as a society.” Much of her work in the show serves to demonstrate how inured the audience is to what she calls “mediating objects,” and force viewers’ participation in ideas from which their culture tends to distance itself.
In “Bob and Weave,” for example, the audience witnesses a video of a fistfight between Mason and a large man projected onto a wall. As the tussle progresses, Mason’s bloodied face bumps in and out of the camera’s frame, the back of her opponent’s head impeding our view most of the time. The viewer is confronted with an image physically too large and too loud to avoid.

Mason’s other visual work is geared to achieve a similarly jarring response. She explains that, normally, “the television is kind of a wall, but also a window in some ways.” The television screen, like a car’s windshield or a white picket fence, is a “mediating object” in that it serves to separate the viewer from what it portrays. The show, however, compels the viewer to transgress these divisions and in so doing makes the audience more aware of the gap created by such mediating objects.

After taking part in “Mise en Scene,” another work that creates understanding by involving the viewer, one cannot help but wonder how many television screens it takes to make us savages. During “Mise en Scene,” the screens serve as a visual gateway to the interior of a white eight by eight foot cube, within which a barely clothed performer stands on a box with wire electrodes attached to her legs and arms. The viewer watches and listens to a television video of other viewers pressing a red button and observing, on another television set, the woman convulsing in pain.

The video-recorded audience members sought to connect with the woman inside the box, but as one of the audience members shrewdly observed, “the only way to communicate with her is to shock her.” In a telling shot a man with black-rimmed glasses repeatedly jabbed the button while looking at the screen, and turned to an off-camera friend while laughing and pointing at the television.

Mason also uses mediating objects to explore the transformation of traditionally cherished American individualism, which she describes “as a very noble kind of effort that got mangled and turned into [a] fearful position where you lock yourself inside of your tract home.”

In the piece “Open House,” the viewer is treated to posters of the detailed architectural plans of “Cul de Sac,” which the program says was made “using prefabricated building materials” such as plastic siding, and then watches a video performance of Mason and several others who built themselves inside this suburban equivalent of Thoreau’s house on Walden pond. It might take more than an axe and some whiskey to change the new individualism they are fighting, but at that moment that’s all it takes to destroy the pristine house from the inside out.

antena, 1765 S Laflin St. Through May 24. Saturday, 12-5 pm, or by appointment. http://www.antenapilsen.com/current.html

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