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Artists: Lara Almarcegui, The Beehive Collective, Guy Ben Ner, Ramiro Gomez, Ryan Griffis & Sarah Ross, Alevtina Kakhidze.

Economic globalization has more closely integrated local, national, and regional economies across the world, creating not only greater interdependence, but significant geographic and spatial change. Here, There, Everywhere is a group exhibition focused on spatial configurations of economics and their related effects. Ranging across physical and conceptual territories, the artworks in the show address the globally networked and the locally specific, sometimes focusing on intensified movements of goods, services, capital, and persons, and at others on the transformations of specific locales.

Lara Almarcegui ’s work explores a neglected and overlooked site in Wellington, New Zealand where a strange street of houses sits on the outskirts of the city. These buildings removed from their original locations, are displayed temporarily whilst awaiting sale. Over the course of the past few years, during her stay in Western countries, Alevtina Kakhidze has taken on the habit of drawing consumer goods that she contemplates in shop windows, valuing each drawing to correspond with the retail price of the object. Kakhidze ’s The Most Commercial Project questions value and materialism, from her own Ukrainian perspective and a more global approach. Guy Ben Ner ’s video, Foreign Names, focuses on worker displacement in a compendium of video clips from an Israeli coffee shop chain. Highlighting the replacement of waiters with technological devices, Ben Ner ’s video laces together vignettes in which counter staff at the coffee shops call out fictitious names of customers. The texts edited together become a lament of the waiters ’ disappearance and the state of workers today. Ramiro Gomez ’ paintings and collages bring attention to the invisibility of the working class, in particular overlooked or ignored domestic labor. Once a live-in nanny himself, Gomez paints nannies, housekeepers, and landscapers into media images of empty luxury homes. The Beehive Collective is a US-based graphics workshop that creates political posters and mosaics on subjects of globalization and geographical transformation. In Mesoamérica Resiste, Beehive illustrates stories of resistance and solidarity from Mexico to Colombia. Ryan Griffis & Sarah Ross apply a regional lens to think expansively about the disparate geographies that might exist within the space of one small town or across continents and oceans. Their project Between the Bottomlands & the World investigates a rural Midwestern town, a place of global exchange and international mobility, inscribed by post-NAFTA realities.

Here, There, Everywhere is part of an ongoing series of exhibitions and events, Standard of Living: Work, Economies, Communities, that explore shifts in economies and in work. Topics covered in the series include how and where economic exchange takes place, new models for sustainable economies, employment-driven migration, and relationships between place, work, and economic viability, among others. A key component of this series is community involvement. Partnerships, relationships, and dialogues with community organizations, labor unions, and artists help guide the development of exhibitions and events.

A supplement to Here, There, Everywhere, the Standard of Living Reading Room includes texts and resources that explore the legacies of industry, immaterial labor, service work, invisible labor and more, articulating a variety of responses to the relationships between labor, economy, and politics.

Lorelei Stewart, Director of Gallery 400 since 2000, has organized over 40 exhibitions, including the Joyce Award-winning exhibition Edgar Arceneaux: The Alchemy of Comedy…Stupid (2006). In 2002, she initiated the acclaimed At the Edge: Innovative Art in Chicago series, a commissioning program that encouraged Chicago area artists’ experimental practices. She holds a BA from Smith College, a BFA from Corcoran College of Art and Design, and an MA in Curatorial Studies from Center for Curatorial Studies at Bard College.

Here, There, Everywhere was made possible in part by the Institute of Museum and Library Services, the School of Art & Art History, the College of Architecture, Design, and the Arts, University of Illinois at Chicago and a grant from the Illinois Arts Council, a state agency. The Daryl Gerber Stokols and Jeff Stokols Voices Series Fund provides general support to Gallery 400. Support for the opening reception provided by Finch ’s Beer Co.

FOR IMMEDIATE RELEASE

Contact:
Erin Nixon
Assistant Director
312 996 6114
gallery400@uic.edu

Here, There, Everywhere

Gallery 400
October 31-December 13, 2014

Ryan Griffis & Sarah Ross, Corn being loaded into an ocean-going ship at a storage facility in Belle Chasse, LA. 2012. Photo: Ryan Griffis/Sarah Ross.

Artists: Lara Almarcegui, The Beehive Collective, Guy Ben Ner, Ramiro Gomez, Ryan Griffis & Sarah Ross, and Alevtina Kakhidze

Curated by Lorelei Stewart with the contributions of Ionit Behar and Pinar Uner Yilmaz

October 24, 2014—Chicago, IL— Economic globalization has more closely integrated local, national, and regional economies across the world, creating not only greater interdependence, but significant geographic and spatial change. Here, There, Everywhere
is a group exhibition focused on spatial configurations of economics and their related effects. Ranging across physical and conceptual territories, the artworks in the show address the globally networked and the locally specific, sometimes focusing on intensified movements of goods, services, capital, and persons, and at others on the transformations of specific locales.

Lara Almarcegui ’s work explores a neglected and overlooked site in Wellington, New Zealand where a strange street of houses sits on the outskirts of the city. These buildings removed from their original locations, are displayed temporarily whilst awaiting sale. Over the course of the past few years, during her stay in Western countries, Alevtina Kakhidze has taken on the habit of drawing consumer goods that she contemplates in shop windows, valuing each drawing to correspond with the retail price of the object. Kakhidze ’s The Most Commercial Project questions value and materialism, from her own Ukrainian perspective and a more global approach. Guy Ben Ner ’s video, Foreign Names, focuses on worker displacement in a compendium of video clips from an Israeli coffee shop chain. Highlighting the replacement of waiters with technological devices, Ben Ner ’s video laces together vignettes in which counter staff at the coffee shops call out fictitious names of customers. The texts edited together become a lament of the waiters ’ disappearance and the state of workers today. Ramiro Gomez ’ paintings and collages bring attention to the invisibility of the working class, in particular overlooked or ignored domestic labor. Once a live-in nanny himself, Gomez paints nannies, housekeepers, and landscapers into media images of empty luxury homes. The Beehive Collective is a US-based graphics workshop that creates political posters and mosaics on subjects of globalization and geographical transformation. In Mesoamérica Resiste, Beehive illustrates stories of resistance and solidarity from Mexico to Colombia. Ryan Griffis & Sarah Ross apply a regional lens to think expansively about the disparate geographies that might exist within the space of one small town or across continents and oceans. Their project Between the Bottomlands & the World investigates a rural Midwestern town, a place of global exchange and international mobility, inscribed by post-NAFTA realities.

Here, There, Everywhere is part of an ongoing series of exhibitions and events, Standard of Living: Work, Economies, Communities, that explore shifts in economies and in work. Topics covered in the series include how and where economic exchange takes place, new models for sustainable economies, employment-driven migration, and relationships between place, work, and economic viability, among others. A key component of this series is community involvement. Partnerships, relationships, and dialogues with community organizations, labor unions, and artists help guide the development of exhibitions and events.

Related Programs:

Friday, October 31, 5:00pm-8:00pm – Opening Reception

Thursday, November 6, 6:00-8:00pm – Public Conversation: Solidarity & Struggle for the Rights of Domestic Workers, interactive presentations by domestic workers; organizers from Arise Chicago; Heather Radke, Exhibition Coordinator for Jane Addams Hull-House Museum; and Sheila Bapat, author of Part of the Family? Nannies, Housekeepers and Caregivers and the Battle for Domestic Workers Rights

Wednesday, November 12, 7:00pm– Chicago Filmmakers Screening: Barriers to Entry

Thursday, December 4, 7:00pm – Screening: Between the Bottomlands and the World, accompanied by a conversation with the videomakers, Ryan Griffis & Sarah Ross, and urban planner Faranak Miraftab

Tours:

Gallery 400 will offer free, guided tours of Here, There, Everywhere to the public on the following dates:

Thursdays at 12:00pm: 11/13, 11/20, 12/4
Saturdays at 1:00pm: 11/15, 12/6

To schedule a tour that meets the specific needs and interests of your group, contact us at 312.996.6114 or gallery400@uic.edu.

Here, There, Everywhere is supported by the School of Art & Art History, the College of Architecture, Design, and the Arts, University of Illinois at Chicago and a grant from the Illinois Arts Council, a state agency. The Daryl Gerber Stokols and Jeff Stokols Voices Series Fund provides general support to Gallery 400. Support for the opening reception provided by Finch’s Beer Co.

Founded in 1983, Gallery 400 is one of the nation’s most vibrant university galleries, showcasing work at the leading edge of contemporary art, architecture, and design. The Gallery’s program of exhibitions, lectures, film and video screenings, and performances features interdisciplinary and experimental practices. Operating within the School of Art and Art History in the College of Architecture, Design, and the Arts at the University of Illinois at Chicago (UIC), Gallery 400 endeavors to make the arts and its practitioners accessible to a broad spectrum of the public and to cultivate a variety of cultural and intellectual perspectives. Gallery 400 is recognized for its support of the creation of new work, the diversity of its programs and participants, and the development of experimental models for multidisciplinary exhibition.

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Postcard: Here, There, Everywhere

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Poster: Here, There, Everywhere

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Here, There, Everywhere

Curated by Lorelei Stewart with the contributions of Ionit Behar and Pinar Uner Yilmaz
October 31 – December 13, 2014

Exhibition Checklist

Lara Almarcegui

Relocated Houses, Britton Yards, Wellington, 2009
Digital prints, 24 x 35 in.
Courtesy the artist and Ellen de Bruijne Projects

The Beehive Collective

Mesoamérica Resiste, 2013
Offset print (original hand drawn illustration: pencil, pen & ink, ink wash)
34 x 34 in. (folded) 34 x 68 in. (unfolded)
Courtesy the artists

The True Cost of Coal, 2010
Offset print (original hand drawn illustration: pencil, pen & ink, ink wash)
30 x 60 in.
Courtesy the artists

Guy Ben Ner

Foreign Names, 2012
HD video, 4:45 min loop
Courtesy the artist and Aspect/Ratio Chicago

Ramiro Gomez

Delia in the dining room, 2013
Acrylic on magazine, 11 x 8 ½ in.
Courtesy the artist and Charlie James Gallery, Los Angeles

Alejandra, 2013
Acrylic on magazine, 11 x 8 ½ in.
Courtesy the artist and Charlie James Gallery, Los Angeles

A 1930 ’s dining room table, oh, and Erlina cleaning, 2013
Acrylic on magazine, 11 x 8 ½ in.
Courtesy the artist and Charlie James Gallery, Los Angeles

Cristina setting the table, 2013
Acrylic on magazine, 11 x 8 ½ in.
Courtesy the artist and Charlie James Gallery, Los Angeles

Luisa, 2014
Acrylic on magazine, 11 x 8 ½ in.
Courtesy the artist and Charlie James Gallery, Los Angeles

No Splash, 2014
Archival pigment print on 308 gram Hahnemule paper
24 x 24 in.
Courtesy the artist and Charlie James Gallery, Los Angeles

Ryan Griffis & Sarah Ross

Between the Bottomlands & the World, 2014
Three videos (54:19 min., 11:21 min. and 11:23 min.), mounted prints, variable dimensions
Courtesy the artists

Alevtina Kakhidze

UNLIMITED, 2005-2013
Photocopies of original drawings
Courtesy the artist