{"id":1832,"date":"2023-04-17T08:29:16","date_gmt":"2023-04-17T00:29:16","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1832"},"modified":"2023-04-17T08:29:16","modified_gmt":"2023-04-17T00:29:16","slug":"the-best-booths-at-expo-chicago-from-pleated-knots-to-poignant-works-about-memory","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-best-booths-at-expo-chicago-from-pleated-knots-to-poignant-works-about-memory\/","title":{"rendered":"The Best Booths at Expo Chicago, From Pleated Knots to Poignant Works About Memory"},"content":{"rendered":"<div class=\"featured-image\" style=\"text-align: center;\">\n<figure class=\"o-figure lrv-u-max-width-100p\">\n<div class=\"c-lazy-image \">\n<div class=\"lrv-a-crop-4x3\"><img loading=\"lazy\" decoding=\"async\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lead.jpg?w=1200\" sizes=\"auto, (min-width: 87.5rem) 1000px, (min-width: 78.75rem) 681px, (min-width: 48rem) 450px, (max-width: 48rem) 250px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lead.jpg 1200w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lead.jpg?resize=400,300 400w\" alt=\"View of an art fair from above.\" width=\"667\" height=\"501\" \/><\/div>\n<\/div><figcaption class=\"c-figcaption lrv-u-font-size-12 lrv-u-flex lrv-u-flex-direction-column lrv-u-padding-tb-025\"><span class=\" lrv-u-font-size-14@desktop\">The scene at the 2023 edition of Expo Chicago, at Navy Pier.<\/span><cite class=\"lrv-u-text-transform-uppercase lrv-u-color-grey\">MAXIMIL\u00cdANO DUR\u00d3N\/ARTNEWS<\/cite><\/figcaption><\/figure>\n<\/div>\n<div class=\"a-content a-content--offset lrv-a-floated-parent lrv-u-font-family-body lrv-u-line-height-normal lrv-u-font-size-18\">\n<p class=\"paragraph larva \/\/ a-font-body-m \">Bringing together more than 170 galleries from 36 countries, Expo Chicago hosted its VIP preview on Thursday morning. The fair\u2019s aisles were moderately filled during the first few hours, with a mass of people filling up the Navy Pier during the evening vernissage hours.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">Now celebrating its tenth anniversary this year, Expo Chicago made apparent this edition that it is still intent on bringing world-class art and leading curators to the Windy City for a fair experience unlike any other. The fair made good on its promise.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m \">Below, a look at the best on offer during the 2023 edition of Expo Chicago, which runs until Sunday, April 16.<\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664215\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Athi Patra-Ruga at WHATIFTHEWORLD<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/apr.jpg?w=1200 1200w\" alt=\"A tapestry showing a Black queer person in a regal magenta outfit. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Some of the works brought to the fair by the Cape Town\u2013based gallery WHATIFTHEWORLD appeared to be unfinished. In fact, however, these pieces constituted discrete works onto themselves.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\"><a href=\"https:\/\/www.atelierauction.com\/globalupdates\">Artist Athi Patra-Ruga<\/a>\u2019s stunning portraits of his queer Black femme community, both contemporary members and members from generations prior, are made via a semi-obsessive process. He starts in pencil, then works in pastel, then tapestry, and finally stained glass, with the portraits evolving along the way. One of his subjects is Sengalese dancer F\u00e9ral Benga, who moved to Paris in 1925, became a star at the Folies Berg\u00e8re (at times performing in drag), befriended Josephine Baker, and posed for Carl Van Vechten and George Platt Lynes. Unlike these figures, Benga has faded into obscurity. Patra-Ruga\u2019s works are meant to combat that near erasure, \u201ca testament to the people who get forgotten,\u201d the artist said during the VIP preview. By depicting Benga in drag at a time when right-wing conservative politicians in the US are legislating against it, \u201cit\u2019s highly political, but it\u2019s highly necessary that I do that.\u201d<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">In another drawing, the artist has posed musician Desire Marea as late photographer Rotimi Fani-Kayode, who died of AIDS-related complications at 34 in 1989. By mixing these two temporalities, Patra-Ruga is also trying to create a new form of documentation for his community. Because there are many stereotypical portraits of Black men in the history of portraiture, Patra-Ruga sees his works as a form of \u201chealing wherein I\u2019m wresting them\u201d from those prior depictions.<\/p>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664208\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Oluseye at Southern Guild<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/o.jpg?w=1200 1200w\" alt=\"Several small-scale sculptures that are primarily all black made of various everyday items like plugs, combs, hair. Some include white cowrie shells. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Toronto-based artist Oluseye is also focused on how objects construct memory. For his ongoing series titled \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\">Eminado<\/a>,\u201d which means \u201cgood luck charm\u201d in Yoruba, the artist has created a series of talismans using found objects (always in black, except for cowrie shells in some works) that he has collected while tracing the path of the transatlantic slave trade, moving from Africa to South America, the Caribbean, and the United States. (He photographs each object in situ so he has the location data in his personal archive.)<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">These small-scale sculptures can contain objects\u2014combs, strands of acrylic hair, plugs, car parts, and more\u2014from anywhere between two and six countries. Sometimes, these objects are brought together for aesthetic reasons. Other times, it\u2019s because they share a history. In piecing them together, Oluseye said he is trying to \u201creimagine the talismans that Africans would have carried across the Atlantic\u201d just a few centuries ago. In doing so, he hopes to \u201cbuild a complex presentation of Blackness\u201d and reconnect people.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664209\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Claudia Pe\u00f1a Salinas at Embajada<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/cps.jpg?w=1200 1200w\" alt=\"Detail of a sculpture showing a postcard with a 1933 stamp on right, as well as Robert Smithson's address. At left is a message, generated using AI, from Frank Lloyd Wright to Smithson. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">It\u2019s increasingly rare that artists will make works specifically for an art fair, so it was a pleasant surprise to see this new sculpture, titled\u00a0<em>Hotel Palenque-Chicagos Worlds Fair<\/em>, by New York\u2013based artist <a href=\"https:\/\/www.atelierauction.com\/globalupdates\">Claudia Pe\u00f1a Salinas<\/a>. The work responds to the 1933 World\u2019s Fair, held in Chicago to celebrate the city\u2019s centennial, which presented a reconstruction of a Mayan temple, and to Robert Smithson\u2019s visit in 1969 to the Hotel Palenque in the southern Mexican state of Chiapas.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">In a text about the work, Pe\u00f1a Salinas described the latter site as \u201ca hotel in constant construction and destruction,\u201d with Smithson going as far as to call it a \u201cnever-ending ruin\u201d in a slide presentation from the year of his visit. Pe\u00f1a Salinas\u2019s minimalist sculpture, consisting of a gold-plated armature, is meant to imitate the architecture of the hotel.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">In one section, an original postcard showing a photograph of the Mayan temple from the World\u2019s Fair that Pe\u00f1a Salinas was able to source. That fair is often credited with introducing the American public to Mayan architecture, with the widely disseminated postcards acting as a pre\u2013social media information-sharing tool. To this postcard, Pe\u00f1a Salinas has added a short message to Smithson from the architect Frank Lloyd Wright, who visited the 1933 event, that she produced by plugging in their texts to an AI chatbot and prompting it to create a text. \u201cI wonder what you make of this place if you were here with me,\u201d the imagined Wright, who died in 1959, writes. The piece cleverly collapses the two time periods and brings them into the present.<\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlistx-uid1\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\" data-google-query-id=\"CIekq6ffrv4CFQifvQodqfEKZQ\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664210\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Beatriz Gonz\u00e1lez at Casas Riegner<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/bg.jpg?w=1200 1200w\" alt=\"View of an art fair booth showing a bedspread painted with a man's body that is hung on a wall, with a long, scroll-like work on a short plinth in front. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">One of Colombia\u2019s most celebrated artists, Beatriz Gonz\u00e1lez, who recently turned 90, has two major works at the booth of Bogot\u00e1\u2019s Casas Reigner from 1985, a year that marked a turning point in her career. Hanging on one wall is a tapestry, showing deer in a forest, onto which Gonz\u00e1lez has painted the corpse of an old man whose brutal murder was widely publicized in sensational news stories at the time. An evolution from her earlier furniture pieces of the 1970s, this work pairs a bedspread\u2019s kitschy pastoral scene with the seriousness of Colombia\u2019s political situation in the wake of the Palace of Justice siege by the guerrilla group M-19. Installed in front of the tapestry is a long scroll-like piece that is presented on a small, foot-high plinth. On it is a repeating image of an elongated, prostrated body, in various weights of charcoal, that would become a recurring motif in Gonz\u00e1lez\u2019s later works. While this woman\u2019s body may appear to be eroticized, Gonz\u00e1lez meant it as an expression of the immense suffering she witnessed in her country.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664211\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Debra Cartwright at Fridman Gallery<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/dc.jpg?w=1200 1200w\" alt=\"A grouping of five watercolors showing slightly abstracted figures. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Fridman Gallery has a suite of watercolor drawings that act as studies for larger oil paintings by Brooklyn-based artist Debra Cartwright. The works reflect on the painful history of the medical torture that Black women endured under J. Marion Sims, a physician whose experiments were done without anesthesia. In researching this history over the past two years while completing her MFA at Rutgers University, Cartwright has created spare drawings in which collaged body parts coalesce with delicate blobs and shapes, offering women an interiority that Sims had denied them.<\/p>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664212\" data-slide-index=\"5\" data-slide-position-display=\"6\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Karen Navarro at Foto Relevance<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=793\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1015px, (max-width: 2560px) 1015px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=317 317w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=634 634w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=793 793w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=1015 1015w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/kn.jpg?w=1200 1200w\" alt=\"Two photo-based sculptures, showing fragmented portraits of two different people, hang on a wall. \" width=\"760\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Houston-based artist Karen Navarro has long been thinking about her own migration from Argentina eight years ago. For a photo-based series titled \u201cNeither Here Nor There\u201d (2021\u201322), she has photographed several people who either immigrated to the US or whose family did so one or two generations ago. She then blows up these images to a large scale and fragments them. Next, she mounts the prints to wood and seals them with resin.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m\">In one portrait printed across four blocks, a man\u2019s face just barely misses the perfect alignment, with small gaps in between; in another, horizontal strips from a photograph of a woman give the effect that the image is glitching as it loads. Navarro, who was on hand during the VIP preview, said she wanted to explore the ways in which identity is socially and culturally constructed, especially for people who have immigrated to the US. The gaps in the works\u2019 compositions represent the times where \u201cyou don\u2019t know your own history\u201d and how that offers an opportunity to \u201cfill it in\u201d with whatever you want.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234664213\" data-slide-index=\"6\" data-slide-position-display=\"7\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Audra Skuodas at Abattoir<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/as.jpg?w=1200 1200w\" alt=\"Two paintings done in the same pale green hang on either side of sculpture that resembles an empty canvas stretcher. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\">Two works by Audra Skuodas on either side of a work by Michelle Grabner.<\/div>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\" style=\"text-align: left;\">Cleveland\u2019s Abattoir gallery has brought to Chicago paintings and drawings by the late artist Audra Skuodas, who was born in Lithuania and spent much of her career in Oberlin, where her husband, John Pearson, was a printmaking professor. Skuodas, who died in 2019, had a memorable presentation as part of the second Front Triennial in Ohio last summer that including her studio, which\u00a0<em>ARTnews\u00a0<\/em>said\u00a0\u201cmakes the best case for her as a seriously underrated artist (outside Ohio, at least).\u201d On view at Expo is at least one work that was included in that exhibition, depicting a contorted, spindly figure whose elongated body seems to radiate movement. Set against a pale green background, a vine of thorns wraps itself around a part of the figure\u2019s body, in what is likely a self-portrait; various sections of the canvas feature bright red cuts that Skuodas termed \u201cwounds.\u201d Last year,\u00a0<em>ARTnews<\/em>\u00a0said a Skuodas retrospective should be in the offing; this Expo booth offers potential proof that this may be coming closer to fruition.<\/p>\n<\/div>\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">Lynda Benglis at Ortuzar Projects<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/04\/lb.jpg?w=1200 1200w\" alt=\"A sculpture made from orange-ish metal that is twisted to look like a pleated knot. \" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\" style=\"text-align: center;\"><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Maximil\u00edano Dur\u00f3n\/ARTnews<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m\">Lynda Benglis has long been known for her unique ability to shape conventional art materials into forms that seem to defy what is possible for her mediums. That couldn\u2019t be truer of her pleated knot works, several of which are on view courtesy of New York\u2019s Ortuzar Projects. In these works, Benglis effortlessly transforms and shapes various types of metal\u2014copper, zinc, steel\u2014into transcendent twists, rendered with varying degrees of patina that give these sculptures elegance and heft. These are works that beckon viewers in and lure them into quiet contemplation\u2014a feat amid the bustle of an art fair like this.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-1\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlist1-uid0\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\"><\/div>\n<div data-is-adhesion-ad=\"\" data-google-query-id=\"CJKBi6Pfrv4CFfrLTAId5qQASw\">Source: https:\/\/www.artnews.com\/<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The scene at the 2023 edition of Expo Chicago, at Navy Pier.MAXIMIL\u00cdANO DUR\u00d3N\/ARTNEWS Bringing together more than 170 galleries from 36 countries, Expo Chicago hosted its VIP preview on Thursday morning. The fair\u2019s aisles were moderately filled during the first few hours, with a mass of people filling up the Navy Pier during the evening [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1832","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-artist","7":"category-auction","8":"category-events","9":"category-gallery","10":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Best Booths at Expo Chicago, From Pleated Knots to Poignant Works About Memory - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"The Best Booths at Expo Chicago, From Pleated Knots to Poignant Works About Memory\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-best-booths-at-expo-chicago-from-pleated-knots-to-poignant-works-about-memory\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Best Booths at Expo Chicago, From Pleated Knots to Poignant Works About Memory - 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