October 28
“Tesselescence (Compound Yellow)" - Keeley Haftner
Opening Reception: October 28, 3 - 6 pm
Compound Yellow presents artist Keeley Haftner's "Tesselescence (Compound Yellow)", opening this Saturday from 3-6pm.
“Tesselescence" is a larger, ongoing series of work by Haftner begun in 2014, encompassing many transformative processes for waste materials. It is a portmanteau that combines the concepts of “tessellation” (a two-dimensional pattern with a three-dimensional effect) and “obsolescence,” be it unintentional or planned. This exhibition is the next in a series of installations which reveal the visual history of an artist-run space's installations using their leftover paint from previous exhibitions. This solo exhibition will also showcase new installation-sculptures titled "Material Biases" created in collaboration with artists Alberto Aguilar, Arnold J. Kemp, Laura Shaeffer, and Lisa Walcott.
Keeley Haftner (1985) is a Saskatchewanian-Canadian artist based in the Netherlands whose artwork deals with garbage as a material and a concept – in other words, with matter out of place and time. Her work has been exhibited internationally in the US, Canada, and Europe, including her current solo presentation at the Ceramic Museum of the Netherlands. Haftner was long-listed for Canada’s prestigious Sobey Art Award, and short-listed for the De Kei Ceramics Prize, a biennial award for ceramic work of exceptional artistic quality in the Netherlands.
More info at Facebook.
Image credit: Keeley Haftner, "Tesselescence (The Franklin Outdoor)" (detail); mistinted latex paint, the Franklin Outdoor; part of Still Life at the Franklin Outdoor, curated by Edra Soto; 2021
September 9 - October 6
Volverse Imagen - Becoming Retina - María Burundarena
Curated by Sofía Sánchez Borboa
Opening Reception: September 9, 1 - 5 pm
Volverse Imagen - Becoming Retina
Volverse Imagen - Becoming Retina presents María Burundarena’s latest work that explores finding pleasure and desire through the sense of discovery[SSB1] . Using photography, print media, and collage, she cuts out, reassembles, and condenses pieces of reality to play with multiple dimensions and invites the viewer to walk into several frozen moments that no longer exist in time and space. Photography becomes virtual by showing the viewer a fleeting moment, even if it looks like reality. The viewer becomes so entranced by it and its aura that they inevitably escape to the new reality to which the work takes them.
The exhibition is a continuation of the artist’s exploration of the boundaries of the image. By thinking of the retina as a surface and the surface as a retina that records images of imprinted memories blown up, she plays with the spatial sensation of the depth of an image. She further utilizes filters to interrogate the viewer’s relationship to the image and the ways in which they experience and understand their seeing. The ephemeral quality of her works stems from Burundarena’s interest in the relationships between time and abandonment in urban settings as a reminder that all we experience is but a fleeting memory. Although photography captures an embalmed moment in time, it will also fade away and be altered in our memories.
By using her personal photographic archive to surround the visitor in the gallery, Burundarena romanticizes a memory of what is lost, abandoned, and broken. Volverse Imagen- Becoming Retina is an installation of fragmented images that play with multiple dimensions, generating a visceral sensation of being inside an image. The viewer's immersion within a time limit of 30 seconds creates a sense of awe that goes beyond beauty and admiration and becomes an epiphany in which what is being observed is not a real image but a trace of reality.
July 21 - September 1
Beyond Blue - Curated by Justin Dwaun
Opening Reception: July 21, 7- 10 pm
BEYOND BLUE - Unveiling the Hidden Narratives of Indigo Opening Reception
RSVP here
Step into the world of Beyond Blue and uncover the hidden narratives that reside within the indigo pigment. This thought-provoking art exhibition celebrates the resilience and triumphs of those affected by the indigo pigment's historical significance in West Africa and America.
Join us for the opening reception on July 21 from 7p to 10p, as we come together to celebrate the power of art in igniting conversations and fostering connection. Engage with the artists themselves, gaining insight into their creative process and the stories behind their vibrant artworks.
Throughout the exhibition, participate in various interactive workshops including a quilting workshop led by Amanda Christine Harth, a master of textile craftsmanship, and a denim workshop with Landon Tate. Explore the art of quilting and denim creation, both intimately connected to the indigo heritage, and unleash your own creativity.
Expand your horizons through an artist talks and panel discussion, where esteemed guests, Alexandria Eregbu and Amanda Christine Harth, share their perspectives on identity, memory, and the enduring impact of indigo. These conversations will deepen your appreciation for the profound connection between art and storytelling.
Experience the fusion of art and literature in our Poetry Circle & Writer's Workshop with Justus Pugh. Explore the poetic expressions inspired by indigo and discover how the written word can unveil hidden narratives.
Indulge your senses in an extraordinary artistic and culinary fusion at the Artist Dinner hosted by Alaasë. This intimate gathering celebrates the diverse voices and experiences that intersect within the indigo realm, creating a space for inclusivity, understanding, and the celebration of our shared humanity through West African dishes with an American twist.
Join us for the Closing Reception, where we bid farewell to this transformative exhibition. Hosted by NO BOTTLE SERVICE, this event will prioritize the art and collective experience allowing us to immerse ourselves fully in the rich narratives presented and celebrate the artist that have created the amazing pieces and programming that make up the exhibition.
We extend our heartfelt thanks to our partners at Compound Yellow, The Design Museum of Chicago, and alt_ as well as our programming partners Landon Tate, Justus Pugh, Alaasë, and NO BOTTLE SERVICE for their invaluable support and collaboration in bringing this extraordinary exhibition to life. Together, we aim to create an inclusive space that welcomes diverse perspectives, fosters dialogue, and honors the multifaceted stories woven into the indigo pigment.
Justine Dwaun Redding: @justindwaunredding @Naomiprojects
Alexandria Eregbu: @alexandriaeregbu @findingijeoma
Amanda Christine Harth: @amandachristineharth @universeofharth
June 10 - july 15
Multispecies inc. - by Parsons & charlesworth
Opening Reception: June 10, 2-6pm
Multispecies Inc. is a fictional organization through which artists and designers Parsons & Charlesworth explore multispecies future imaginaries. Conceived as a group of ecologists creating and using tools for “multispecies living”, Parsons & Charlesworth manifest the objects and stories of Multispecies Inc. to examine and critique our desire to both convene with, and control “nature” Multispecies Inc. Research Station at Compound Yellow
From June 10th to July 15th, Compound Yellow will operate as a drop-in research station for Multispecies Inc. - Parsons & Charlesworth’s ongoing visual arts climate fiction about a group of ecologists modeling non-human-centric living.
Audience members are invited to dive into the world of Multispecies Inc. through a set of stories, view artifacts and diagrams that illustrate the group’s work and participate in citizen science activities that model the work of Multispecies Inc. members.
Parsons & Charlesworth is an art and design studio that develops tangible worlds as discursive tools for critically appraising urgent issues. Co-founded by Jessica Charlesworth and Tim Parsons, the studio’s investigative, research-driven, speculative approach uses installation, sculpture, designed objects, writing, photography and digital media to explore key social, ecological and technological challenges of our time, including climate change, the future of work, and the ethics of technology. Currently NEW INC Members on the Creative Science Track.
Parsons & Charlesworth have exhibited in galleries, museums, institutions, and festivals around the world including 17th International Architecture Exhibition- La Biennale di Venezia, Walker Art Center (Minneapolis), Philadelphia Museum of Art, Museu de Arte, Arquitetura e Tecnologia (MAAT Lisbon), Science Gallery Dublin, Istanbul Design Biennial, the Museum of Contemporary Art (Chicago), London Design Festival and the Chicago Cultural Center.
Recent honors, grants, and awards for their work include a 2022 Canada Council for the Arts Grant, a 2021 Graham Foundation for Advanced Studies in the Fine Arts Grant, support from the British Council, a 2020 Mitchell Enhancement Award from The School of the Art Institute of Chicago, and a 2019 Canada Council for the Arts Grant. The 2019 Artist-In-Residence at Krems, Austria, the 2016 Residency at Kriti Gallery, Varanasi, India, a 2014 Residency at Roger Brown House, New Buffalo, Michigan, a 2013 Residency at Home Is Where The Art Is, Charleston, South Carolina and the 2010 First Prize Winner for Project Vienna, MAKVienna, Austria. Their work is featured in various private collections and in the permanent collection at the MAKVienna and DePaul Art Museum.
Jessica and Tim both teach at The School of the Art Institute of Chicago.
BIO
Jessica Charlesworth is a British/Canadian transdisciplinary artist, designer and educator. Jessica is an alumni of the experimental and groundbreaking Design interactions program at the Royal College of Art in London and co-founder of the London-based arts salon AlterFutures. She has collaborated with artists, futurists, scientists, and think tanks including Foresight (UK) and the Institute for the Future (US). Jessica has been a part-time faculty member in the Designed Objects program at the School of the Art Institute of Chicago since 2013 where she runs design futures studio seminar classes ‘Ways of Futuring’ and ‘Material Futures’. Her teaching experience of over 15 years has included creating new futures-oriented classes, teaching, lecturing, mentoring graduate students and independently organised workshops at universities and education institutions including Harvard Business School, University of Pennsylvania, California College of the Arts, University of Michigan, ArtCenter College of Design, Glasgow School of Art, Royal College of Art, Bath School of Art & Design, St. Joost School of Art & Design, Netherlands and Moholy Nagy University, Budapest.
Tim Parsons is a designer, author, and educator having studied Industrial design before earning a Master of the Arts Degree in Design Products at London’s Royal College of Art in 2000. He has gone on to teach product design at universities in Britain and America. Tim previously taught at the University of the Arts London and Manchester Metropolitan University. As a designer, he has worked with manufacturers in Britain and Europe and exhibited widely, including at The Design Museum, London, and MCA, Chicago. As a writer, Tim has contributed articles and essays to publications including Blueprint, ICON, Crafts, and Phaidon’s Design Classics, and his book Thinking: Objects: Contemporary Approaches to Product Design was published in 2009 by AVA Academia. He is also the writer and instructor of the online course Making Meaning: An Introduction to Designing Objects.
may 6 -june 3
biofeedback - mikey mosher
Opening Reception: May 6th, 2-5pm
“This exhibition, "Biofeedback" is a body of work by Chicago-based artist Mikey Mosher, which reflects on and attempts to rectify the loss of tactility in contemporary American culture. This loss is particularly obvious in the context of technology, and our physical interactions with it. Touch screens lessen the physical sensation of every swipe, type, and tap, so much so that these sensations need to be simulated back into the experience through added haptic feedback. This loss of touch has stretched into our interpersonal relationships even more during the pandemic era. Reflecting on these patterns brought about this body of work which attempts to both embody this loss of tactility, but also be an act of resistance to that loss. Pieces in this exhibition involve “hands-off” production processes such as lasercutting, but also require significant “hands-on” methods like sanding, collaging, painting, and arranging.
Mikey Mosher is an interdisciplinary artist from Massachusetts, currently based in Chicago. He holds an MFA in Studio Art from the School of the Art Institute of Chicago. Much of his work is influenced by his undergraduate Religious Studies background. This academic study of the religious history of New England allowed him to root his reflections on the relationship between religion, spirituality, colonial power, and indoctrination in historical events that took place where he grew up. Since then, he has been using his artistic practice as an act of perpetual self-reeducation; a way of filtering and rearranging the information he picks up from contemporary media to reflect the grim and surreal reality that underlies all corners of American life. More recently, he sees his practice as a channel for genuine spiritual reflection, both for himself and his audience, while infusing cultural critique into that process.
APRIL 1 - APRIL 29
for IRIS AND OTHER FLOWERS LESLIE BAUM
Opening Reception: April 1, 2:00 - 5:00 pm
“Why record a flower? What’s the point? They’re ephemeral, they’re never the same from day to day, they’re so brief, there are so many of them. Incremental change, inevitable loss.” —Jordan Kisner
This exhibition is an attempt to reframe loss as a celebration. An absurd project? Perhaps, but one that aspires to be helpful, hopeful, and even healing. I think of this work as radically unfixed – not meant to endure in any form or location. Here, for now, thin cotton paintings temporarily adorn indoor and outdoor surfaces. Casual arrangements of ceramics populate tabletops. A large-scale painting composed in three parts – comes together just for this show. This mode of making is an outgrowth of several recent art-making experiences: an experimental residency in Umbria, a re-engagement with ceramics begun at the Watershed Residency and /continued at Gnarware, and my pandemic project of - daily watercolor paintings of flowers from my garden. At the beating heart of the whole endeavor is my mother, Iris. She was my first art teacher and introduced me to watercolor and clay – her two primary media. In the 1970s, she made a clay stamp of her signature to sign her ceramic work. I now have this object and use it – putting my hand onto the clay she shaped and – imprinting her name – and spirit – into my work.
Leslie Baum is a Chicago-based painter whose work is invitational in nature. Baum received her BA from the University of Vermont and studied abroad at the Glasgow School of Art. She has exhibited nationally and internationally with exhibitions in New York, San Francisco, Portland, Mexico City, Italy, and South Korea. Her drawings and paintings are in permanent collections of the Chicago Art institute and the Elmhurst Art Museum. Her work has been reviewed extensively, including in Artforum, Art in America, Hyperallergic, and the Chicago Tribune. She has received residencies at Watershed Center for Ceramic Arts, the Nido project in Monte Castello di Vibio Italy, Yaddo and the Vermont Studio Center. A 2020 DCASE grant funded the pleinairarchive.com - a site documenting her ongoing painting social practice.
FEBRUARY 24 - MARCH 25
TOOLBOX - GROUP EXHIBITION BY ARTIST COLLECTIVE SSPATZ
Opening Reception: February 24, 6pm
Since its foundation, sspatz has been all about art in domestic spaces. The starting point has been the need to make contemporary art tangible as part of living spaces and to test how it can be presented and received in completely regular homes, outside of exclusive properties or pure white cube settings. So you could definitely say that sspatz's mission is to normalize living with art. The pandemic has clearly shown how important it is to open up new spaces and forms of presentation for art. We therefore decided to work with 12 artists during the lock-down to develop a Toolbox that people can use to create and encounter art in their own homes. In 2021 we sent out 55 boxes to people all over the world so they could create their very own contemporary art experience at home.
The special thing about the contributions gathered in the Toolboxes is that the works are only completed through the active participation of the recipients. How the activation is to be carried out in detail can be found either on the contribution itself or in an accompanying manual.
Sometimes the instructions are relatively clear and sometimes absolutely ambiguous. In any case, however, the works call for dialogue and examination. For the contributions gathered in this Toolbox, the action of the recipients is decisive. They must be activated and should be touched - sometimes even roughly. The artworks in this box are strange tools. Not only do they intervene in the actual nature of the world and homes, but they also question our understanding of authorship and art. They are an invitation to question our own notions of where, when and what art is or can be.
The presentation of sspatz’s Toolbox project at Compound Yellow is an exhibition that extends from the Gallery to adjacent living spaces, a documentation of previous Toolbox activities and an open ended process for the audience in Chicago. With contributions by Franziska Windolf, Eva Gentner, Esther Steinbrecher, John Dombroski & Trevor Amery, Julia Dorflinger, Simon Fischer, Anas, Lukas Picard, Simon Pfeffel, Markus Vater, Aida El-Oweidy.
FEBRUARY - On going
Disclaimer - Installation By Industry of the ordinary
Industry of the Ordinary are Adam Brooks and Mathew Wilson.
Adam Brooks is an artist, curator and educator and Mathew Wilson is an artist and educator.
Their manifesto:
Through sculpture, text, photography, video, sound and performance Industry of the Ordinary are dedicated to an exploration and celebration of the customary, the everyday, and the usual. Their emphasis is on challenging pejorative notions of the ordinary and, in doing so, moving beyond the quotidian.
Their project at Compound Yellow features ‘Disclaimer’, 2023 ( (this installation, original project 2011) Vinyl banner, 13’ x 10', a public art installation on view through February and ongoing.
'The struggle of man against power is the struggle of memory against forgetting'. - Milan Kundera