Nate Young 'Artissima Present Future 2015'

Nate Young Artissima 2015: PRESENT FUTURE

moniquemeloche Booth PF 18

This limited edition publication was created for Artissima 2015, on occasion of Nate Young’s participation in the PRESENT FUTURE section of Artissima Art Fair.

PRESENT FUTURE 2015 Curatorial Board Luigi Fassi, visual art curator, Steirischer Herbst Festival, Graz Fatima Hellberg, artistic director, Künstlerhaus Stuttgart Lara Khaldi, independent curator, Ramallah and Amsterdam Natalia Sielewicz, art historian and curator, Museum of Modern Art, Warsaw Fatos Ustek, independent curator and writer, London Catalog contributors: Rossella Farinotti, Allison Glenn, Nate Young Edited by Allison Glenn Translated into Italian by Rossella Farinotti Edition of 150

Questa pubblicazione in edizione limitata è stata creata per Artissima 2015, in occasione della partecipazione di Nate Young nella sezione PRESENT FUTURE di Artissima Art Fair.

PRESENT FUTURE 2015 Comitato Curatoriale Luigi Fassi, curatore in arti visive, Steirischer Herbst Festival, Graz Fatima Hellberg, direttore artistico, Künstlerhaus Stoccarda Lara Khaldi, curatore indipendente, Ramallah e Amsterdam Natalia Sielewicz, storica dell’arte e curatore, Museum of Modern Art, Varsavia Fatos Ustek, curatore indipendente e scrittore, Londra Contributi in catalogo: Rossella Farinotti, Allison Glenn, Nate Young Editing di Allison Glenn Tradotto in italiano da Rossella Farinotti Edizione di 150

© 2015

Nate Young’s work explores visual representations of systems, re-creating the transcendent and cerebral experience of knowledge formation and the impartation of truth and greater understanding. For But not yet: in the spirit of linguistics, his 2015 solo show at moniquemeloche, the artist combined text and signifiers with graphite and paper to create deliberately worked diagrammatic drawings that were austere and poetic. This combination of lucid materials and abstruse concepts identifies the space between language and cognition, the signifier and the signified; articulating the connection between. This moment of cognition is further amplified by the inclusion of a distinct, codified language that is an extension of post-structuralism, informed by religious doctrine.

Young derives his inspiration from Swiss linguist and semiotician Ferdinand de Saussure and his father’s theological background. In semiotic theory, the sign has a meaning other than itself, which communicates information once decoded. For Young, this symbol is an opportunity to challenge our understanding of form and meaning. The series Diagrams with my Father was created through the appropriation of theological diagrams from the elder Young’s teachings, combined with symbols that carry a particular weight in the artist’s visual lexicon. The combination of authoritative marks of the scholar and artist conflates the absoluteness of religious word and language itself, resulting in a system of floating signifiers that weaves a thread through Young’s broader practice. Through the removal of information that would serve to proselytize the audience, Young presents a framework for the articulation of a doctrine focused on the system. The inclusion of the oak wood frame creates a further context through which the viewer must navigate and make connections. For Young, these strategies challenge the authenticity of larger systems at play.

This logic is carried through Young’s Altar series, the series of Reliquary works, and modular units where the diagrams are transported off the paper and into the material that once served as a “frame.” Instead of acting as a device that surrounds the drawing, the frame itself becomes the drawing and imposes itself as an object. The rich color and grain of the wood stands in for the delicate fields of graphite, and intricate inlays replace the graphite lines. Within this new body of work, prominence is given to modular structures that both negate and reveal attempts at communication. As such, the viewer is treated to a layered experience, as the diagrams unfold in space and time. Retreating into a field of nothingness, this space of absence acts as the structure through which ideas can be articulated. Through the interruption of form, various systems of belief are prodded. The removal of content presents an opportunity to consider the idea of a diagram, as opposed to the diagrams presenting a set of ideas. Young’s desire to offer and at the same time conceal is insistent on the predication that hiding something away heightens its sacredness. (Allison Glenn and Nate Young)

On the Presence in Absence: Binary Oppositions and the Work of Nate Young A conversation between Rossella Farinotti, Allison Glenn, and Nate Young Allison Glenn: Rossella and Nate, I am elated to have the opportunity to speak with you both about the trajectory of Nate’s practice and the emergence of what I believe to be a thoughtful and considerate set of tropes.

I am hoping that through this brief conversation we can begin to articulate some of these tropes while developing a greater understanding of how Nate’s practice has expanded over the course of the past three years.

Rossella Farinotti: I am really excited about this adventure with you two, and happy about Allison's great idea! In the last 4-5 years, Artissima has become the most interesting art fair in Italy, based on quality, experimental works of art, and interesting artists. So it is going to be a great challenge too. Before, when I spoke to Allison, I told her that the idea of this interview/conversation between the three of us is really great and unusual for a fair. It is a good way to make people know you better from three different points of view. It is going to be really lively and, as I said, unusual. A good documentation that will remain.

AG: Wonderful, so I think I will begin where our conversation started.

Rossella, when we first discussed Nate’s work, you were specifically inquisitive about the type of wood that he uses for his sculptures, specifically Closing No. 1 (2012) and Untitled (Pulpit No. 1) (2014), and asked if the sculptures were found or if Nate fabricated them. This made me think back to my first encounter with Nate’s work, which was in 2012 at the Fore exhibition at the Studio Museum in Harlem. For this exhibition, Nate included Closing No. 1, which was a sculpture of a found church pew installed flush to

the wall. On the wall was a set of headphones, where the listener could hear an audio recording of Nate preaching, and a small diagrammatic drawing. As someone who grew up in a family where religion was a part of their formative years, I remember being distinctly curious about the place of religion within the space of the white cube. The initial moments I spent considering this framework that Nate had set up for the viewer led to a continued interest in his further investigations of language, power, and positions of understanding.

Nate, Untitled (Pulpit No. 1) was the first sculpture that you exhibited at your solo exhibition at moniquemeloche (February-March 2015), and all subsequent sculptures here thereafter, we see a shift. Now you are creating all the wood elements in the studio, and constructing sculptures that borrow their form from that of the church; such as an altar or reliquary. Can I ask you to explain the decision to incorporate a found object in the 2012 work at the Studio Museum and how this approach has shifted since, with consideration of your use of the found object versus the object created with your hand?

Nate Young: I think about my practice in a broader sense as one that is not tied to any particular material (though material is also a very specific concern of mine). So if you speak about "shifts" in relationship to the way the work presents itself formally there are often things that appear somewhat disparate. Sometimes I approach the work with my own hand and it makes sense to do this and other times I approach the work just looking for the most immediate way to address an idea.

But with that one piece and the body of work that I’ve been working on lately there are definite material links. With the drawings and the frames,

I’m actually trying to make something that resembles a thing that might be found in a church. The oak and the dark treatment of the wood all for me goes back to the pew. I’m thinking about ways in which things can carry meaning and authority and creating a language through which to do that. I wanted these works to reference objects found in a church... but not quite be that thing.

I would also say that sometimes in my work there just needs to be that one thing. It’s like a single word or a single statement. Other times the work makes more sense as a paragraph or a phrase. You need the body of them in order for them to really speak anything that makes sense.

AG: It is interesting that you are referring to the body of work in such a linear fashion, like reading a paragraph or phrase. Is this linearity a necessity to your work I can’t help but think about Saussure here…

NY: I think it’s just about process and ways of working. There’s a process I have in which the work can stand as an individual thing on its own. Then with the Diagrams I feel like the more of them they have the more they start to form some kind of alternate meaning. So, yes, sometimes it is necessary, and other times I just need that one thing. But I guess even still that thing isn’t in isolation. It has some reference to the world that we live in.

RF: Nate, if we can refer back to Allison’s initial question, I was curious about your attitude towards the material because the references here are pretty clear, especially when one considers your family background. What really makes me curious is not the fact of using wood—and also different kinds of it—but the action of de-contextualizing an object (which has a deep and historical meaning to you) into a very conceptual and personal way of thinking and making art. Why did you choose — among many possibilities— that specific object, a pew, as a starting point of this new body of work?

NY: I guess sometimes it’s not all that linear for me. I started with the pew because it was a way for me to implicate the viewer. I also thought there was a bit of vulnerability that I was asking for in their participation.

The Diagrams are a little different for me but still have some of the same conceptual threads running through them. I think you’re exactly right when you talk about de-contextualizing the object. In making the Diagrams and removing most of the language that would communicate something “real” I wanted to look more just at the way in which the thing was communicated.

In that regard it’s really not that far off from the church pew, where for me it was not only about what was being talked about (the painting) but also about the way in which it was said, that gives the object (and I refer to the object that for me didn’t even need to exist, the painting) a sense of validity.

So the Diagram then has a certain parallel to the language used in that piece.

It just has a different form. The personal narrative is more like a starting point for me. The further obscured or de-contextual the things start to become the less it is about my personal subjectivity as it is about our experiences with these kinds of “frames” that allow us to make meaning.

AG: And now with The Unseen Evidence of Things Substantiated, which is your current exhibition at the Fabric Workshop and Museum in Philadelphia, the erasure of the body or substrate has become a prominent theme. I am thinking back to our recent conversation about using the idea of blackness and blackness as a material - specifically your use of super black paint - as an opportunity to create a space that simultaneously embodies everything and nothing. As the binary opposition of absence/presence that you have introduced is concerned with fundamental states of being, this work is reliant on an existence that is within a framework; as you mentioned above. If we now understand that the materiality of the wood in the Diagrams and

Reliquaries is representative of the “frames that allow us to make meaning,” then what does this space represent?

NY: In the work at Fabric Workshop I’m sort of revisiting some of the tropes that I’ve employed in the past i.e. the dematerialized body, the white gloved hands, the disorientation of the viewer through the use of sensory deprivation, the use of the text that talks about the painting and objects that reference church. I had gone through this process of thinking about the erasure of the body as a highlighting of the body and also was thinking about this as contradiction.

This contradiction is maybe in relation to the conversation that we were having a few weeks ago that had to do with two things I would say. And one is the sort of flipping back and forth between thinking about “blackness” as a racialized idea and blackness as an empty space. In our conversation I think I was looking for and have been looking for ways to not have to “flip.” The desire is for those two ways of thinking about blackness to kind of converge and become one. So I can use the term black and also the material of blackness (as in the black of the pulpit in the show or the black in the projection of my absent body) in both ways at the same time. I want to be able to deny and embrace those at the same time. I don’t know if it makes any sense or is even possible. But I want to reach into that space.

There's a way again that I think about the Diagrams like that. I think about them the same way I think about the empty space where the pulpit disappears. It is the absence of a thing or an inability to access a thing visually. But it’s still there.

The other thing that I've been thinking about is attempts to occupy other worlds. I think about the absence in the black space as the unrealized potential of an alternate subjectivity. Again there is a parallel with the

Diagrams where I more recently have been thinking about the potential in the absence of “information.” That maybe there is the potential that they come from some kind of alternate (individual or even collective) subjectivity.

RF: With this exhibition we could say it’s like going from the pew to the pulpit. Nate, you mentioned that you, “wanted to look more at the way in which things are communicated,” so I assume that the medium has more significance than the signified. This is tangible in this installation and, maybe, it is one of the reasons why in The Unseen Evidence of Things Substantiated you choose different mediums - because in your works of art we are dealing with language - by constructing an eight-foot metal pulpit and by creating a video. Can we assume that, through the large dimension of the pulpit and the fact of using a different material than wood, you are stressing the absence of a language and emphasize the medium?

NY: I think it maybe could be the absence of language and the emphasis of the medium but also one could think about it the other way around. On one hand, the large pulpit in The Unseen Evidence of Things Substantiated is a complete loss of material… at least visually because you cannot see it. But when you do realize that it is there, it is quite an ominous object. So I would say I want to stress presence of medium and absence of language. But the video piece is all about disappearing and about presence of language. In the works I'm showing here at Artissima, I’m putting language and material to the fore. I really do think about the Diagrams as maybe a secret language. So it is also a stressing of language and at the same time a stressing of medium. I like that one can approach each of these ways of thinking about the work at the same time, or one at a time, in opposition and in accord.

PLATES / TAVOLE

Closing No. 1, 2012, Installation view as part of Fore, The Studio Museum in Harlem, November 11, 2012- March 10, 2013. Photo: Adam Reich. Collection of the Walker Art Center, Minneapolis / Closing N. 1, 2012, Veduta dell'installazione Fore, The Studio Museum in Harlem, 11 novembre, 2012- 10 marzo, 2013. Photo: Adam Reich. Collezione di the Walker Art Center, Minneapolis

Untitled (Pulpit No. 1), 2014 Oak / Quercia 42 ½ x 19 ¾ x 15 ¾ inches / 107.95 x 50.17 x 40 cm

But not yet: in the spirit of linguistics, Installation view at moniquemeloche, February 2015 / Veduta dell'installazione a moniquemeloche, Febbraio 2015

But not yet: in the spirit of linguistics, Installation view at moniquemeloche, February 2015 / Veduta dell'installazione a moniquemeloche, Febbraio 2015

Untitled (Diagram No. 12) from Diagrams with my Father, 2014 Graphite on paper in artist made oak frame / Grafite su carta all’interno di una cornice in quercia 33 x x 24 x 2 ½ inches / 83.82 x 60.96 x 6.35

Untitled (Diagram No. 14) from Diagrams with my Father, 2014 Graphite on paper in artist made oak frame / Grafite su carta all’interno di una cornice in quercia 33 x 24 x 2 ½ inches / 83.82 x 60.96 x 6.35

Untitled (Altar No. 6), 2015 Graphite on paper in artist made oak frame with walnut inlay, hinges / Grafite su carta all’interno di una cornice in quercia con inserti in noce prodotta dall’artista, con cerniera Closed: 42 x 16 x 5 inches / Chiuso: 106.68 x 40.64 x 12.7 cm Partially open: 42 x 21 1/2 x 10 ž inches / Parzialmente aperto: 106.68 x 54.61 x 27.31 cm

Untitled, 2015 Graphite on paper in artist made oak frame with walnut inlay / Grafite su carta all’interno di una cornice in quercia con inserti in noce prodotta dall’artista 52 x 16 x 2 ½ inches / 132.08 x 40.64 x 6.35 cm

Reliquary for a Declaration No. 2, 2015 Oak with walnut inlay / Quercia con inserti in noce 48 x 16 x 2 ½ inches / 121.92 x 40.64 x 6.35 cm

Untitled, 2015 Oak with walnut inlay / Quercia con inserti in noce Closed: 48 x 16 x 2 ½ inches / Chiuso: 121.92 x 40.64 x 6.35 cm

Untitled, 2015 Alternate view / Visione alternativa

Reliquary for a Declaration No. 3, 2015 Oak with walnut inlay / Quercia con inserti in noce 48 x 16 x 2 ½ inches / 121.92 x 40.64 x 6.35 cm

Reliquary for a Declaration No. 5, 2015 Walnut / Noce 48 x 16 x 2 ½ inches / 121.92 x 40.64 x 6.35 cm

Reliquary for a Declaration No. 6, 2015 Oak with walnut inlay / Quercia con inserti in noce 36 x 60 x 2 ½ inches / 91.44 x 152.4 x 6.35 cm

Untitled (Pulpit No. 2 in black), 2015, Aluminum, birch, and aeroglaze z306 paint, Dimensions variable, Pulpit: 96 x 64 ½ x 40 ½ inches, installation view, The Unseen Evidence of Things Substantiated, The Fabric Workshop and Museum, Philadelphia, September 12 – November 15, 2015. Photo credit: Carlos Avendano / Untitled (Pulpit N. 2 in black), 2015, Alluminio, betulla, e pittura aeroglaze z306, Dimensioni variabili, Pulpito: 243.84 x 163.83 x 102.87 cm, veduta dell'installazione, The Unseen Evidence of Things Substantiated, The Fabric Workshop and Museum, Philadelphia, 12 settembre– 15 novembre, 2015. Crediti fotografici: Carlos Avendano

Closing No. 2, 2015, Video projection, 7:56, installation view, The Unseen Evidence of Things Substantiated, The Fabric Workshop and Museum, Philadelphia, September 12 – November 15, 2015. Photo credit: Carlos Avendano / Closing N. 2, 2015, Video proiezione, 7:56, veduta dell'installazione, The Unseen Evidence of Things Substantiated, The Fabric Workshop and Museum, Philadelphia, 12 settembre – 15 novembre, 2015.

Crediti fotografici: Carlos Avendano

NATE YOUNG American, born 1981, lives St. Paul, MN Education 2009 Master of Fine Arts, California Institute of the Arts, Valencia, CA 2009 Residency, Skowhegan School of Painting and Sculpture, Skowhegan, ME 2004 B.A. Visual Arts Education, Northwestern College, Saint Paul, MN Solo/Two Person Exhibitions 2015 The Unseen Evidence of Things Substantiated, The Fabric Workshop and Museum, Philadelphia, PA But not yet: in the spirit of linguistics, moniquemeloche, Chicago, IL 2014 Rehearsals, Bethel University, Arden Hills, MN Tony Lewis, Nate Young, Room East, New York, NY 2013 Joy, The Suburban, Oak Park, IL 2012 How to Make a Slave/ How to Make a God, Fluxx Gallery, Des Moines, IA 2011 Postracializationalism, The XYandZ, Minneapolis, MN 2009 The Wrath of the Math, Lime Gallery, Valencia, CA 2008 Drawings on the Process of Ingestion and Regurgitation, Main Gallery, Valencia, CA Group Exhibitions 2014 Retreat (curated by Theaster Gates), Richard Gray Gallery, Chicago, IL Jerome Fellows Exhibition, Mpls. College of Art and Design, Minneapolis, MN Double Plus Good, Tuck Under Projects, Minneapolis, MN Live Work Make Create, Kathrine Nash Gallery, Minneapolis, MN 2013 The Soap Factory, Minneapolis, MN Works on Paper, Burnett Gallery, Minneapolis, MN 2012 Fore, Studio Museum in Harlem, New York, NY Go Tell it on the Mountain, California African Am Museum, Los Angeles, CA Body Word and Image, Drake University, Des Moines, IA 2012 Authenticity, Untitled Projects, Los Angeles, CA The Critics Show, Hopkins Art Center, Hopkins, MN 2011 Monster Drawing Rally, Midway Contemporary Art, Minneapolis, MN Anthology (Participant), PS1 MOMA, New York, NY 2010 The Smell of God, Obsidian Arts, Minneapolis, MN The Road To Hell is Paved, La Cienega Projects, Los Angeles, CA 2009 Goo, Denler Gallery, St. Paul, MN Study of Gratification and Restraint No. 2 (video screening), Redact, Los Angeles, CA Why Theory, Spring Arts Tower, Los Angeles, CA 2008 Mid Res, D301, Valencia, CA Changing Ties, Gallery 50, Los Angeles, CA 2007 ONE Show, Evening Side Gallery, Val Verde, CA

Curatorial Projects Alternative Exhibition Space, The Bindery Projects, Saint Paul, MN Speaking Engagements and Events 2014 Visiting Artist Lecturer, Minneapolis College of Art and Design, Minneapolis, MN Visiting Artist Lecturer, Bethel University, Arden Hills, MN Live Work Create Artist Panel, University of Minnesota, Minneapolis, MN 2013 Visiting Artist Lecturer, University Of Minnesota, Minneapolis, MN 2012 Visiting Artist Lecturer, Drake University, Des Moines, IA 2011 Walker Collectors Council, Walker Art Center, Minneapolis, MN Wiseman Art Mob, Wiseman Art Museum, Minneapolis, MN Visiting Artist Lecture Series, University of Minnesota, Minneapolis, MN Guest Speaker, Saint Cloud State, Saint Cloud, MN Guest Artist Lecturer, Bethel University, Saint Paul, MN Artist Talk, The XY and Z Gallery, Minneapolis, MN Commissions 2006 Mural, Chambers Art Hotel, Minneapolis, MN 2005 Mural, Free Spirit Publishing, Minneapolis, MN 2005 Mural, McKnight Foundation, Minneapolis, MN Fellowships and Awards 2014 Knight Arts Challenge, Knight Foundation, Saint Paul, MN Fellowship, Jerome Foundation, Minneapolis, MN 2011 Cultural Community Collaboration, Minnesota State Arts Board, Minneapolis, MN 2010 Fellowship, Bush Fellowship, Minneapolis, MN Selected Bibliography 2015 Morris, Matt, “Eye Exam: Authority, Affirmations and Other Nomenclature, Newcity, February 19.

2014 Morris, Matt, “Newcity’s Top 5 of Everything 2014: Art”, Newcity, December 24.

Retreat, exh. cat., Chicago: Valerie Carberry Gallery and Richard Gray Gallery.

2013 Schouweiler, Sussanah, “Biennial Fail: Making It Make Sense“, Hyperallergic, October 25.

Abbe, Mary, “Minnesota Biennial features 38 state artists at Soap Factory in Minneapolis“, Star Tribune, September 12.

Gabler, Jay, “,,,”, ArtForum, September.

Haber, John, “Is It Post-Black Yet?”, habertarts.com, February.

2012 Fore, exh. cat., New York: The Studio Museum in Harlem.

Selected Bibliography (continued) 2012 Cotter, Holland, “Racial Redefinition in Progress: ‘Fore’ at Studio Museum in Harlem“, New York Times, November 29.

Lot, Jessica, “Alchemy of Inspiration”, art21 Blog, November 20.

Fraser, Paul, “CalArtians at the ‘Fore’ at Studio Museum in Harlem”, 24700, November 9.

2012 Alexander, Darsie, “Roving Eye: Minneapolis”, Art in America (online), May 16.

“Minneapolis artist Nate Young at Fluxx”, Art Beacon, April 11.

2011 Mault, Coco, “Nate Young’s ‘ 2011 Mault, Coco, “Nate Young's 'Postracialization' at XYandZ Gallery”, City Pages, September 9.

Contributor Biographies Rossella Farinotti is a contemporary art critic, curator and writer. She is the co-author of the film encyclopedia il Farinotti, and has contributed to publications and magazines such as Arte, Flash Art Italia, Exibart, SofĂ , and her blog, Labrouge. In 2013, she published il Quadro che visse due volte (Milan: Morellini Publishing, 2013), a book on the close relationship between art and film. In 2014 she realized Arte contemporanea: Giants in Milan (DNA Production) a documentary on contemporary art in Milan, directed by Giacomo Favilla. From 2009 to 2011 she was the assistant of the Ministry of culture of Milan. In the last years she curated different exhibitions on young Italian artists. She has a degree in Fine Arts from the University of Milan, and an advanced degree in Communication and Organization of Contemporary Art from Brera Academy in Milan. She currently lives and works between Milan, Italy, and Chicago, IL. Allison Glenn is a curator, writer and director of Monique Meloche Gallery. She has curated exhibitions at Monique Meloche Gallery, the Arts Incubator in Washington Park, and the School of the Art Institute of Chicago, and supported exhibitions at the Hammer Museum and the Hyde Park Art Center. In 2015, she was a Curatorial Fellow with the City of Chicago Department of Cultural Affairs and Special Events, and in 2012 she was a Research Fellow for Theaster Gates. Her essays have been featured in publications for Noah Purifoy: Junk Dada, The Los Angeles County Museum of Art (2015); Prospect 3: Notes for Now, Prospect New Orleans Biennial (2014); Fore, The Studio Museum in Harlem (2012), and she has contributed to Art21 and Newcity, amongst others. Glenn received dual Masters Degrees in Modern Art History, Theory + Criticism and Arts Administration and Policy from the School of the Art Institute of Chicago, and a Bachelor of Fine Art Photography with a co-Major in Urban Studies from Wayne State University, in Detroit.

Nate Young received his MFA from the California Institute of the Arts in 2009, BA from Northwestern College in Minnesota in 2004, and attended the Skowhegan School of Painting and Sculpture in 2009. His current solo exhibition, The Unseen Evidence of Things Substantiated, is on view at Fabric Workshop and Museum in Philadelphia through November 2015. Recent solo and group exhibitions include Retreat, curated by Theaster Gates, Richard Gray Gallery, Chicago (2014); Tony Lewis, Nate Young, at Room East, New York (2014); Joy at the Suburban, Chicago (2013); the Soap Factory’s Minnesota Biennial (2013); Fore, at The Studio Museum in Harlem, New York (2012); Go Tell It on the Mountain, at the California African American Museum, Los Angeles (2012). Nate is the recipient of the Knight Arts Challenge Fellowship from the Knight Foundation (2014), the Bush Fellowship for Visual Artists (2010) and the Jerome Fellowship for Emerging Artists (2014). His work is in notable public collections, including the Walker Art Center. Young is co-founder and director of the artist run exhibition space, The Bindery Projects, in Minneapolis.

moniquemeloche was founded in October 2000 with an inaugural exhibition titled Homewrecker at Meloche’s home, and officially opened to the public in May 2001.

Working with an international group of emerging artists in all media, the gallery presents conceptually challenging installations in Chicago and at art fairs internationally with an emphasis on curatorial and institutional outreach.

moniquemeloche e' stata fondata nell'ottobre del 2000 con uno mostra d'inaugurazione intitolata Homewrecker presso casa Meloche, e ufficialmente aperta al publico nel maggio 2000. Lavorando con un gruppo internazionale di artisti emergenti che spaziano diversi media, la galleria presenta installazioni concettualmente di sfida a Chicago e nelle fiere internazionali con una particolare enfasi nella ricerca curatoriale ed istituzionale.

2154 W. Division Chicago IL 60622 p 773.252.0299 www.moniquemeloche.com