SPACESVOIGT
CHRISTIAN
9 September - 30 December 2022 HILTON | ASMUS CONTEMPORARY CHRISTIAN
SPACESVOIGT
After he finished with his daring and dangerous Nepal - Himalaya Fotoproject in 2017, Voigt reverted to his favorite form of photography, Inner Architecture. He photographed a series of dinosaur fossils at iconic museums such as the London Natural History Museum along with Berlin and Frankfurt.
The Evolution Series traveled the world receiving rave reviews in the press as collectors vied for oversize photos of a tyrannosaurus rex, stegasaurus, triceratops and the half bird dinosaur called Unenlagia Comahuensis. Voigt was the first artist to be granted such intimate access to these fossils, creating hyperreal three-dimensional photographic studies.
CHRISTIANVOIGT
Born in Munich, Germany, Christian Voigt lives and works in Hamburg and the South of France. He works with large format cameras, both digital and analog, experimenting with new camera techniques to make the best use of the digital medium. His photographs can measure as much as eight meters in width. Voigt records the repositories of history, such as museums, national libraries, architectural & historic monuments, as well as, landscapes and nudes. He has developed a visual language capable of telling new stories, or perhaps recount ing a tale with new eyes. Libraries, much like museums, are avenues to establish positive change and promote community by giving the public access to valuable resources and information. Voigt, in particular, makes the viewer feel as though they can be anywhere and everywhere within these spaces at once.
In photographing these monumental relics, Voigt’s one requirement is that they are the real bones of the fossil and not a plaster replica. Working with a unique analog camera system by the Swiss company ALPA, the camera has unique advantages, such as a shift function for the lenses. This allows distortion-free images of large objects, landscapes or rooms. Combining the camera with an adjustable digital back, Voigt is able to capture extremely high resolu tion images as he takes several photos with different exposure times and lens positions. The final development is a very time-consuming process but the results are exceptional. Voigt continually works to refine pictorial idiom unveiling the tale that wants to be told. The inner and outer journeys in his pursuit to capture an untold narrative calls for the ability to come face to face with people, their histories, cultures and religions. In short, Christian Voigt records a treasury of the innovation and imagination of human evolution. SPACES is Christian Voigt’s debut exhibition in Chicago. Solo shows and art fairs have been staged in Basel, Hamburg, New York, Los Angeles, Miami, London, Saint Tropez, Amsterdam, Madrid.
And then there were the libraries and museums. We don’t often go to libraries any more. Or even bookstores. We order books online or we listen to them on our smart phones with tiny little speakers inside our ears. As a little girl I remember the joy I felt walking into a library, afraid to raise my voice above a whisper because anything louder would have shown irreverence to the shelves of human thought recorded over centuries.
The first library I saw through Christian’s lens was “Philosophical Hall” a magical room in the 900 year old Strahov Monastery in Prague. Designed in Early Classisist Style and domed by a monumental ceiling fresco depicting the “Intellectual Progress of Mankind,” it portrays the “developments in science and religion, their mutual impact on each other, and quests for knowledge from the oldest times until the time the hall was built.” More than 42,000 volumes are housed in this hall. Towards the end of the 18th century and the beginning of the 19th, the library became famous throughout European Cultural Circles.
I met Christian Voigt in 2015 when he came to Chicago to photograph the now defunct 1920’s Mid-City Trust and Savings Bank on Chicago’s Near West Side. He was extremely polite, with a genuine smile and an old world aristocratic air about him. Fast forward six years later, Christian returned to Chicago. He stopped by our gallery to show us what he had been working on, including photo graphs of the abandoned and rusted old bank vaults and safes. Much like the demise of the dinosaurs he was to later memorialize, what stood out in these photographs was that he was able to capture the quintessence of what was once alive. “Following an extension in the year 1928, the bank shone out as a modern cathedral of high finance, with a light-bathed foyer redolent of power and money.” Almost 100 years later, his photographs radiated, as though they were an energy field of resurrection.
INTRODUCTION
Similar to the libraries, Christian’s museum photographs make us feel as though we are standing face to face with the most beloved paintings in history. In “Central Gallery Prado,” the focus leads us to the 1656 paint ing Las Meninas by Diego Velázquez, the most important artist of the Spanish Golden Age. The captivating painting within the composition of the room is a microcosm “giving rise to enigmatic relationships between admirers and the figure portrayed.” As Velázquez creates a sense of three dimensionality in his nuanced and mysterious masterpieces, so Voigt creates a macrocosm in the physical space seen from the viewer’s per spective, creating double mirror imagery that invites the viewer into the museum as if we are in a landscape of virtual reality. Like his libraries and museums, Christian Voigt’s SPACES has granted us a front row seat to the majesty and essence of what it means to be human and the ability to preserve our humanity
Although the monastery was a place of seclusion for monks, women were eventually allowed to enter on special occasions. In 1800, Lady Emma Hamilton, the wife of British archaeologist and statesman Sir William Hamilton, visited with her husband and her lover, Admiral Lord Horatio Nelson. Another famous woman to visit was Princess Marie Louise, wife of Napoleon Bonaparte. She bequeathed a gift of a four-volume work on the first Louvre mu seum. When the publication on this exclusive edition of books was complet ed, Napoleon had the entire print run destroyed and kept only three or four sets because he was worried that his reputation would be ruined if it became known that the work listed the origins of a number of exhibits that he had plundered in Italy. I am sure the hallowed walls safeguard many fascinating stories in addition to the overflowing volumes of philosophy and the sciences.
MORGAN LIBRARY II New York, USA, 2012 A museum and independent research library located in the heart of New York City, the Morgan Library & Museum began as a personal library of financier, collector, and cultural benefactor, Pierpont Morgan. As early as 1890 Morgan had begun to assemble a collection of illuminated, literary, and historical manuscripts, early printed books, and old master drawings and prints. Mr. Morgan's library, as it was known in his lifetime, was built between 1902 and 1906 adjacent to his New York residence at Madison Avenue and 36th Street. Designed by Charles McKim of the architectural firm McKim, Mead & White, the library was intended as something more than a repository of rare materials. Majestic in appearance yet intimate in scale, the structure was to reflect the nature and stature of its holdings. The result was an Italian Renaissance-style palazzo with three magnificent rooms epitomizing America's Age of Elegance. Completed three years before McKim's death, it is considered by many to be his masterpiece. In 1924, eleven years after Pierpont Morgan's death, his son, J. P. Morgan, Jr. (1867–1943), known as Jack, realized that the library had become too important to remain in private hands. In what constituted one of the most momentous cultural gifts in U.S. history, he fulfilled his father's dream of making the library and its treasures available to scholars and the public alike by transforming it into a public Edition67.7172institution.x350cmx137.8inchessize:5
The Amber Room was a chamber decorated in amber panels backed with gold leaf and mirrors, located in the Catherine Palace of Tsarskoye Selo near Saint Petersburg. Constructed in the 18th century in Prussia, the room was dismantled and eventually disappeared during World War II. Before its loss, it was considered an "Eighth Wonder of the World". A reconstruction was made, starting in 1979 and completed and installed in the Catherine Palace in 2003.The Amber Room was intended in 1701 for the Charlottenburg Palace, in Berlin, Prussia, but was eventually installed at the Berlin City Palace. It was designed by German baroque sculptor Andreas Schlüter and Danish amber craftsman Gottfried Wolfram. Schlüter and Wolfram worked on the room until 1707, when work was continued by amber masters Gottfried Turau and Ernst Schacht from Danzig (Gdańsk). It remained in Berlin until 1716, when it was given by the Prussian King Frederick William I to his ally Tsar Peter the Great of the Russian Empire. In Russia, the room was installed in the Catherine Palace. After expansion and several renova tions, it covered more than 55 square meters (590 sq ft) and contained over 6 tons (13,000 lb) of amber.
AMBER CatherineROOMPalace, St. Petersburg, Russian Federation, 2018
After expansion and several renovations, it covered more than 55 square meters (590 sq ft) and contained over 6 tons (13,000 lb) of amber. The Amber Room was looted during World War II by the Army Group North of Nazi Germany and taken to Königsberg for reconstruction and display. Sometime in early 1944, with Allied forces closing in on Germany, the room was disassembled and crated for storage in the Castle basement. Konigsberg was destroyed by allied bombers in August 1944 and documentation of the room location ends there. Its eventual fate and current whereabouts, if it survives, remain a mystery. In 1979 the decision was taken to create a reconstructed Amber Room at the Catherine Palace in Pushkin. After decades of work by Russian craftsmen and donations from Germany, it was completed and inaugurated in 2003. Christian Voigt has immortalized this “Eight Wonder of the World” in exquisite fashion. 124 x 250 cm 48.8 x 98.4 inches Edition size: 12
AUSTRIAN NATIONAL LIBRARY
Vienna, Austria, 2022 Located in the Wiener Hofburg the Austrian National Library is considered one of the most beautiful historic library halls in the world. Commissioned in 1722 by Charles VI, Emperor of the Holy Roman Empire, the historic building was constructed by the famous baroque architect Johann Bernhard Fischer von Erlach and his son Joseph Emanuel. The grand hall measures 77.7 x 14.2 meters with a central dome of 29.2 meters high. The iconic pairs of columns divide the wings and represent the Pillars of Hercules which symbolize claims to power and Constantia et Fortitudine, the motto of Charles VI. With more than 12 million items in its collection, the Austrian National Library is the largest library in Austria and owns one of the most valuable book collections in the world with items dating from 1501 to the present day. Therefore, we are particularly proud that the Austrian National Library has included two publications by Christian Voigt in its collection. 166 x 136 cm 65.3 x 53.5 inches Edition size: 12
CENTRAL GALLERY PRADO Madrid, Spain, 2015 The Museo del Prado in Madrid, known as Prado for short (Spanish for "meadow"), is one of the largest and most important art museums in the world. Originally founded as a Pinacoteca and glyptotheca, the Prado today includes over 5000 drawings, 2000 prints, 1000 coins and medals, and nearly 2000 other art objects. The sculpture collection has more than 700 objects and other fragments. In addition to the world's best collection of Spanish painters, including some of the main works by Velázquez, Dutch masters and works by Botticelli, Caravaggio, Albrecht Dürer and Rembrandt, among others, are also
Withshown.an outstanding collection stemming from centuries of art patronage by the Spanish Crown and opened to the public in 1819 by the King Ferdinand VII, here visitors can not only admire the world’s largest collection of Spanish paintings, but also formidable collections of Flemish, and Italian paintings, as well as the most complete collection of works by artists such as Bosch, Titian, Rubens, Velázquez, Ribera, Murillo, Goya, and El Greco.
The Spanish painting collection spans from the twelfth to the nineteenth century with principal works of artists such as El Greco, Murillo, Zurbarán, Ribera, Sorolla, and, most notably, Goya and Velázquez, the last two of which are particularly brilliant. The incomparable collection of Goya’s works is comprised of more than 140 pieces; additionally, among other famous paintings in the Museum´s Collection are The Family of Charles IV, The Naked Maja, The Clothed Maja, The Second of May, 1808, and The Third of May, 1808, as well as his famous collection of Black Paintings. As far as Velázquez is concerned, the Prado holds nearly half of his life’s works, including almost all his most important paintings, such as Las Meninas, The Surrender of Breda, The Spinners, and The Drunkards. 108 x 250 cm 42.5 x 98.4 inches Edition size: 12
Cont’d PRADO II Madrid, Spain, 2015 Inside the Museum is an exceptional collection of principle works by great European masters, most notably of Spanish, Italian, and Flemish paintings and fewer but fantastic examples of German and French paintings. The list of titles and names is extraordinary, includ ing The Garden of Earthy Delights by Bosch, The Annunciation by Fra Angélico, The Three Graces by Rubens, Christ Washing the Disciples’ Feet by Tintoretto, Rembrandt’s Artemisa, Rafael’s The Cardinal, Dürer’s Self-portrait, The Emperor Charles V by Titian, The Descent from the Cross by Van der Weyden, and a number of notable others.123 x 224 cm 48.4 x 88.2 inches Edition size: 12 162 x 300 cm 63.8 x 118.1 inches Edition size: 5
GALERIE D’ ANATOMIE COMPARÉE Paris, France, 2019
The Galerie d’ Anatomie Comparée in Paris is part of the Muséum National d’Histoire Naturelle and is housed in a magnificent building, 80 meters long, inaugurated in 1898. The result is a building that meets the scientific, educa tional and museographic requirements from Albert Gaudry, professor of paleontology, Georges Pouchet, professor of comparative anatomy, and Ferdinand Dutert, talented architect, used to worked together. Cut stones and bricks decorate the metal framework, bay windows and stained-glass windows provide the necessary light, wooden floors and landings embellish the whole, sculptures and high reliefs by artists such as Fremiet or Barrias decorate the exterior of the building. In this Art Nouveau ambience, the visitor is guided through the fascinating spectacle of the worlds of ‘yesterday’ and ‘today.’ As soon as one crosses the threshold of the gallery, the collection unfolds a herd of large land and water vertebrates. Remarkable species such as a whale nearly 20 meters long can be seen here, as well as Steller’s rhytine (sea cow), extinct since 1768, or the marsupial wolf, extinct since 1936. Also, the elephant of Louis XIV and the rhinoceros of Louis XV are on display.By deciphering fossils, and examining similarities and differences, the art of comparative anatomy allows a better understanding of the living world. 128 x 255 cm 50.4 x 88.6 inches Edition size: 12
Natural History Museum, London, United Kingdom, 2017
170 x 170 cm 66.9 x 66.9 inches Edition size: 12
BALAENOPTERA
MUSCULUS
The London History Museum is home to life and earth science specimens comprising some 80 million items within five main collections: botany, entomology, mineralogy, palaeontology and zoology. The skeleton of a Blue Whale (Balaenoptera Musculus) represents the largest animal known to have ever existed and yet, one that feeds on only the smallest animals. Its diet consists almost exclusively of small crustaceans known as krill. This female Blue Whale skeleton has been named ‘Hope’ by the museum as a symbol of humanity’s power to shape a sustainable future. It is one of the first species that humans decided to save on a global scale. Consisting of 221 bones, it is hung in the exact diving lunge feeding position. This marine mammal can grow up to 29.9 meters (98 ft) in length and with the most significant recorded weight of 173 tons (190 short tons).
Admont, Austria, 2022
Founded in 1074, the Admont Abbey Library near Vienna is one of the great works of art from the late Baroque period in Europe where different genres of art architecture, frescoes, sculptures, writings & printed works, have merged into unity. In the MiddleAges, the library prospered as a scriptorium. It is the largest monastic library in the world. The library comprises of approximately 200,000 volumes. Its most precious treasures are the more than 1,400 manuscripts (from the 8th century) and the 530 incunabula (early prints up to the year 1500).
The ceiling consists of seven cupolas, decorated with frescoes showing the stages of human knowledge up to the high point of Divine Revelation. Light is provided by 48 windows and is reflected by the original colour scheme of gold and white. Christian Voigt is the first artist to be allowed to photograph the Admont Abbey Library after its extensive renovation and after the complete return of the historic book collection.126x 222 cm 49.6 x 87.4 inches Edition size: 12
ADMONT ABBEY LIBRARY
RESEARCH LIBRARY II Amsterdam / Rijksmuseum The Netherlands, 2014
133 x 250 cm 52.4 x 98.4 inches Edition size: 12
The Rijksmuseum Research Library in Amsterdam is one the largest art history libraries in the world. It is the crown jewel of the art history collection in the Netherlands. Over 400,000 volumes include catalogues of auctions and exhibitions, trade and collection catalogues, as well as books, periodicals and annual reports relating to the museum collections have been compiled without interruption since 1885. The library is situated in the main building of the Rijksmuseum, home of the largest collection of Dutch Masters, Rembrandts, Frans Hals and Vermeers in the world.
PHILOSOPHICAL HALL
Strahov Monastery Prague, Czech Republic, 2015 The Monastery of the Premonstratensian Order at Strahov in Prague has a history reaching back to the 12th century and is a listed National Cultural Monument of the Czech Republic. The monastery was founded during the reign of King Vladislav II on the impetus of the Bishop of Olomouc Jindřich Zdík. The monastery acquired its current Baroque appearance in the years between 1671 and 1674, when an extensive rebuilding was carried out according to design by the architect Giovanni Domenico Orsi. Additional alterations were carried out in 1742 by the architect-builder Anselmo Lurago. The beginnings of today’s library of the Strahov monastery can be placed in the era of Giovanni Domenico Orsi’s rebuilding work. Visitors to the Philosophical Hall are immediately drawn to the painting on its ceiling titled, “The Spiritual Progress of Mankind” by the artist Franz Anton Maulbertsch, who was assisted by his pupil Martin Michl. The artist worked on the painting from April till October 1794. The book collection of the Philosophical Hall library contains works on history, theology, poetry and liturgical texts. 157 x 224 cm 61.8 x 88.2 inches Edition size: 12
SAFE Image size: 124 x 224 cm 48.8 x 88.2 inches
In the ‘Golden Twenties’, the vaults of the Mid-City Trust and Savings Bank on Chicago’s Near West Side must inevitably have harboured a fair quantity of dirty dollars. Following an extension in the year 1928, the bank shone out as a modern cathedral of high finance, with a light-bathed foyer redolent of power and money. It experienced its best days in the period when America was discov ering the consumer culture, and nobody suspected that the Depression was just around the corner. Chicago shifted into the heady rhythm of jazz and the blues. Louis Armstrong was playing the country’s most advanced music in Chicago, and on Saturday evening crowds avid for entertainment flocked to legendary dance halls like the Aragon. Life was overblown and intoxicating, like one of Louis’s trumpet extravaganzas. And it could be dangerous as well. Prohibition was in force between 1920 and 1933, and the smoky base ment bar next door was open for illegal alcohol consumption on a daily basis. Irish and Italian gangs fought to the death for a market share of the enormously profitable bootlegging business. Al Capone, the best known of all Chicago’s hoodlums, was now the secret boss of the city. He actually popularised the term ‘money laundering’, when he invested his gigantic illegal takings in washeterias. So there must have been a whole lot of dirty money in circulation, and plenty of it will have ended up in the vaults of the Mid-City Bank. Half the city police took bribes from Capone’s underlings, and his backhanders made politicians and officials, up to and including the Mayor, bend to his bidding. Places like the Mid-City neighbourhood bank were universal clearing houses, bringing together members of the Socialist Party (which had its headquarters in the same building), local vegetable dealers and no doubt a fair number of gangsters eager to stow their bootlegging profits in the bank’s lockers.
Banking secrets – An Essay About the Vault Series by Christian Voigt
Isn’t our whole idea of the past sometimes a bit like a room full of lockers? Each door conceals a little black box full of hidden recollections. Memory itself is a bank containing our most precious treasures and sinister secrets – all we have lived through in the way of experiences and emotions. With the right key, the right kind of access, this closely guarded world might open up to us and surrender the secrets it holds.
Today the bank is no more. The original deposit boxes of the former vault, which Christian Voigt has copied in his monumental ‘Safe’, now contain nothing but rust and recollections of a former era. The original box – a simple metal container from the vault of the Mid-City Bank – would seem to be all that remains from those golden Enteringyears.the former vault of the decommissioned financial institute, the artist finds religious symbolism coming to mind. ‘The space is comparable with a Christian tabernacle – this is where in the old days they celebrat ed money as if it were a religion,’ says Christian Voigt. ‘Behind every deposit box there lurks a mysterious secret, a philosophy of moneymaking and accumulation and more than a few shady stories.’
HALL OF FAME III
Amsterdam, The Netherlands, 2014 Amsterdam’s grandest museum, The Rijksmuseum is the Dutch national museum, and home to 80 galleries with thousands of ar tifacts. The main building was designed by Pierre Cuypers and first opened in 1885. The museum is dedicated to arts, crafts, and history. It keeps a large collection of paintings from the Dutch Golden Age and an extensive collection of Asian art objects and artifacts related to Dutch history. The museum displays over 8,000 exhibits and has been declared a Rijksmonument.
The Hall of Fame, also known as the Gallery of Honour, is an extended corridor directed towards a clear focal point: Rembrandt’s the Night Watch Gallery. The hall comprises a vast space with a floor of inlaid mosaics, walls covered with painted tableaux, stained glass windows spanned high overhead with decorated vaulted ceilings. On view in the side alcoves are masterpieces by great artists of the seventeenth century. Cast iron beams frame the alcoves inscribed with the names of the famous painters of the age. Semi-circular wall sections above display the coats of arms of the eleven provinces of the Netherlands and their respective capital cities. 134 x 250 cm 52.8 x 98.4 inches Edition size: 12
Hall of Fame II 134 x 250 cm 52.8 x 98.4 inches Edition size: 12
PHILAE TEMPLE Aswan, 2010 The Temple of Philae (also Hut-chenti, House of the Beginning) is the name given to a temple complex in Upper Egypt, about eight kilometers south of Aswan. Built during the reign of Ptolemy II (Egypt’s Greco-Roman Period), the Temple of Isis at Philae is dedicated to Isis, Osiris, and Horus. The temple walls contain scenes from Egyptian mythology of Isis bringing Osiris back to life, giving birth to Horus, and mummifying Osiris after his death. The main building of the temple complex is the temple of the goddess Isis. It stands on the western shore about in the middle of the island. Philae in Greek or Pilak in ancient Egyptian, is translated as ‘the end,’ defining the southern most limit of Egypt. One of the most beautiful temples in Egypt, it a breath taking combination of history and nature. The temple is on an island and can only be reached by boat. At night, light and sound shows are presented in various47.2languages.120x250cmx98.4inchesEditionsize:4
CATEDRAL DEL TANGO Buenos Aires, Argentina, 2013 The Cathedral in Buenos Aires is a unique milonga (tango ballroom) where tango aficionados and novices gather to take classes, practice dancing, and eat and drink together every night. The unique space mixes the sacred aura of a cathedral with a bohemian ambiance. The vibrant atmosphere features 12-meter-high wood en ceilings decorated with large sculptures and hanging lights, antiques, tapestries, old guitars, vintage posters, Argentinian flags, with tea lights covering the walls. In former incarnations the 1880 building was a grain silo, dairy factory, and a refrigeration warehouse, be fore finally being converted into a cultural event space. 126 x 250 cm 49.6 x 98.4 inches Edition size: 12
LES CAVES DU ROY St. Tropez, France, 2016 122 x 250 cm | 48 x 98.4 inches | Edition size: 49
MACHU PICCHU I Peru, 2009 Machu Picchu is a city founded by the Incas high in the Peruvian Andes above the valley of the Río Urubamba. The Incas built the city in the 15th century at an altitude of 2,430 meters on a ridge between the peaks of Huayna Picchu and the mountain of the same name Machu Picchu in the Andes above the Urubamba Valley of the Cusco region, 75 kilometers northwest of the city of Cusco. The site is famous for its ingenious dry-stone walls, to which huge blocks of stone were piled without mortar. The city included 216 stone structures, located on terraces and connected by a system of stairs. Most of the terraces with their small water drainage openings built into the walls and about 3,000 steps, have been preserved to this day, as have the canal connection from the water source outside the city complex to the cascading fountain basins, the outer walls of the temples, and the residential buildings, some of which are multi-story. Characteristic of the fascinating buildings is their relational astronomical orientation and the panoramic view offered from them. Their exact use remains a mystery. 165 x 212 cm 64.9 x 83.5 inches Edition size: 12
FRUIT MARKET Siem Reap, Cambodia, 2010 91 x 160 cm 35.8 x 62.9 inches Edition size: 7 142 x 250 cm 55.9 x 98.4 inches Edition size: 5
BASECAMP III Nepal, 2017 The South Base Camp in Nepal, at an elevation of 5,364m is one of two trekking routes in the Himalayas to Mount Everest. 108 x 160 cm 42.4 x 62.9 inches Edition size: 10
KUMBU GLACIER (Camp 1) Nepal, 2017 Khumbu Glacier is a glacier in the Khumbu region of Nepal. It is the highest glacier in the world with an altitude of 8,000 meters. It is fed by the slopes of Mount Everest, Lhotse and Nuptse and begins in the "Valley of Silence," the highest cirque on earth with up to 6,000 meters altitude. At the end of the Valley of Silence, the Khumbu Glacier has a steep breakaway, the Khumbu Icefall, about 600 meters high. At the end of this icefall, the glacier turns from its initial northwesterly course to a southwesterly direction. Here is also the base camp for the ascent of Mount Everest via the southern route (5,400 m). 108 x 160 cm 42.5 x 62.9 inches Edition size: 10
UnitedARABESQUEArabEmirates, 2011 118 x 308 cm | 53.1 x 138.6 inches | Edition size: 7
CHICAGO | River North 716 N. Wells Chicago, IL 60654 USA T: M:+1.312.475.1788+1.312.852.8200
LIBRARY | EVENTS | PROJECTS Morgan Arts Complex 3622 S. Morgan Street Chicago, IL 60609 USA T: +1.312.477.6060 www.hiltonasmus.cominfo@hilton-asmus.com
CHICAGO | Bridgeport Morgan Arts Complex 3622 S. Morgan Street Chicago, IL 60609 USA T: +1.312.477.6060
HILTON | ASMUS CONTEMPORARY
Located in Chicago’s River North and Bridgeport Art Districts, Hilton Asmus Contemporary specializes in modern and contemporary paintings, works on paper, mixed media and sculpture with a special focus on photography. Featuring internationally known artists from United States, Northern Europe, the Mediterranean Region and the Middle East. “Hilton | Asmus Contemporary is a strong proponent of the art of Photography and Film. We do not see a divide between the two disciplines as they are the most immediate and indelible way to document the history of cultures, of people, of nations and our planet. Whether it is the history of our film industry that has changed the way we see our world, or artists making history by using FILM, moving or still, Hilton | Asmus Contemporary seeks to initiate a dialogue, to bring awareness to the contemporary issues of our times.”
