AFC’s Chicago contributors Robin Dluzen and Pedro Vélez ventured beyond the West Loop, opting instead to analyze a selection of those organizations and spaces that pave their own ways: the glorified art walk Brave New Art World; the artist-run, commission-free space AdventureLand; and Roots & Culture, a well-established non-profit gallery that regularly exhibits emerging art.
When I heard of Jerome Bel’s “Disabled Theater”—an interpretive play performed by professional actors with learning disabilities—I thought, good. It’s about time we make a place for different kinds of expression in the art world. I don’t know what that place should look like, but after seeing one of Bel’s productions this week, I promise you: It’s not this.
Two weeks ago we flew out to Toronto to check out Art Toronto and the city’s gallery scene. Two totally different worlds. While the fair suffers from a lack of ambition, the gallery shows we saw presented a more balanced picture of the city as a whole. It’s not perfect, but at the very least we managed to take in some work by a few of the Venice Biennale’s better artists.
Over the course of the last two days, we’ve repeatedly been asked how we liked Art Toronto. Yesterday we reported on the organization and business of the fair, which is remarkable mostly for its utter lack of ambition. We didn’t like that. Today, we’ve put together a slideshow to give readers a better sense of what’s at the fair. We didn’t like that either. And from what we hear, there’s a lot missing, too! Jessica Bradley’s absence this year was just one established gallery of many who was repeatedly mourned while we were on site.
Long story short, there’s not a hell of a lot worth looking at. We collected the best (and worst) of it for you regardless though, because that’s just how we roll. Brace yourself for images and commentary after the jump.
Three editors trekked out to see the first fall shows in the LES. They came back with plenty of banter about some of the season’s best shows so far—at Thierry Goldberg, Invisible-Exports, and CANADA, respectively.
The art world likes to give the appearance of cool omniscience, so it seems unlikely that the indoctrinated will take a shine to the Lower East Side’s Vector, the “Official Gallery of Satan.” In an art context, devil worship (especially by a bunch of twenty-somethings) typically indicates a little more emotional immaturity than we’re willing to take seriously.
That’s too bad, because as an artwork, Vector offers plenty to think about.