The Chapuisat Brothers' In Wood We Trust is a large wooden structure and exhibition venue that transforms our perception of the space it occupies and the people within it. An architectural intervention, it is a deceptively playful yet dramatic utopian experiment in building community through architecture and art. While the main floor of the structure serves as a pavilion for exhibitions, performances, and gatherings, below and above visitors are invited to physically thread through winding passages, trap doors, and slides, as well as get lost within its intricate maze. Located between architecture, sculpture, and playground, the Chapuisat Brothers's work challenges our perceptions of space, movement, and gravity, while questioning distinctions between architecture, art, work, play, and communal exchange. In the process, it posits that the corporeal and convivial pleasure of experiencing art should not be separated from its visual and intellectual components.
6018North is an Affiliate Partner for the Chicago Architecture Biennial.
This project is partially supported by a grant from the Graham Foundation
One Long Table 2017
Neighbors: Come join us on Sunday, July 23rd from noon to 5 pm for food, music, and entertainment!
6018North's annual neighborhood gathering event, One Long Table, is returning to the 6000 block of North Kenmore Avenue. Neighbors join together to share their international food.
Fun awaits for all! For kids we have a bouncy house, face painting, fingernail painting, games, the water-balloon toss show down, and more!
We are currently closed for renovation. We will re-open in September 2017 for the Chicago Architectural Biennale. If you would like to visit during rehab please email: 6018North@gmail.com
We will be posting info about our renovations but in the meantime, we wish to thank all of of the people who have supported us in our first fundraiser - Black Out Dinners - and for attending so many of our events. Please consider supporting us with a tax-donation.
Summer Youth Employment 2017
July - September 2017
This summer, four Summer Youth Employees from different parts of Chicago will:
- LEARN WOODWORKING - build an outdoor deck-like structure and jungle gym working with artists and master carpenters
- LEARN VIDEO: FILMING AND EDITING – gain the skills to create a video about their experience, as well as create video interviews with artists about their work
- BLOG AND UPDATE SOCIAL MEDIA – let our followers know what we're up to.
4 teenagers are trained by 2 master carpenters to learn woodworking, video making and editing. Most importantly, they learn cooperation: to work with each other, mentors, and artists, along with stick-to-itiveness. This year the youth are working with the Chapuisat Brothers to build In Wood We Trust. The program rethinks the potential of immersive body-based education. The high degree of the students' work and their esprit de corps confirms the value of treating education as a dynamic space: emphasizing bodily skills, repetition, and technique and an appreciation of older, often forgotten systems of production and bodily movement. While the woodworking honors craftsmanship, the video production allows for a highly experimental approach. The students film their woodworking process, interviewed the artists they worked with, and compile the footage into videos.
This program is partially supported by a grant from the Illinois Arts Council Agency through federal funds provided by the National Endowment for the Arts
Currently On View
While 6018North is often itinerant – creating thought-provoking and compelling artwork in nontraditional spaces in Chicago and beyond – its mansion is a project in continual artistic flux. Flood damage in 2011 exposed its original structure and bones, creating unexpected and provocative pairings of historic masonry with more than a century’s worth of renovations atop. In response, 6018North’s artists often create work in relation to this existing structure and its history. Artists have made changes, such as adding walls and disco balls, or removing layers of paint and debris. The house is filled with site specific, risk-taking, cross-disciplinary experimentation, and collaborations.
Some of the long-term installations have remained within the exhibition Its Elemental because they relate specifically to the walls, windows, and corridors of the house.
Vlatka Horvat, Door to Door This site-specific work “reinstalls” the many doors of 6018North to create a physical questioning of borders and their ability to organize space, ideas, and people. The door is a powerful part of theatre of regulating access – a servant to solitude and privacy, an invitation, chance or permission for entrance, a barrier to strangers or intruders. On the other hand, a door that’s been unhinged from its frame enacts a certain abandon of the normative space and normative behavior in such a space. In the process of pushing a dilapidated mansion to be even more physically dysfunctional and yet more open, Vlatka Horvat creates a metaphor for the possibilities and/or limits of artists’ intentions to affect the social relations of those who participate within public and private space. Door to Door continues the artistic interventions created for 6018North’s Home: Public or Private? exhibition to question how to make public what is often considered private. Door to Door, 2011/2013 was created in cooperation with In Time Performance, and received Time Out’s Critic’s Pick.
Jane Georges, At This Very Moment This installation of a thousand leaves, woven into 6018North’s first floor walls, was created in September 2013. Working with beeswax, the artist preserved last fall’s leaves and the house’s history, since the original 1910 wallpaper in the dining room was of leaves, following the Prairie style of connecting the inside with the outside.
Lise Haller Baggessen & Jason (J. Thomas) Pallas This collaborative installation pairs Baggessen’s velvet painting Silver Lining and her glammed out installation Self Portrait as Narcissus with Pallas’ Selections of Civil Rights Images from the IEA (Institute for Encyclopedic Amalgamation) Collection. Encompassing the 2nd floor hallway, floor, and walls, the artists combined two vastly different, yet both historical empowerment movements – glam disco culture and Civil Rights – to juxtapose various forms of social protest. The public is invited to scratch off the silver prints to reveal Pallas’s historical images of protests.
Jesus Mejia & Ruth, New Colossus Jesus Meija & Ruth’s New Colossus, 2012 references Emma Lazarus’s sonnet at the base of the Statue of Liberty- “Give me your tired, your poor, your huddled masses yearning to breathe free.” When hands are placed behind one’s back and into the holes, the arrested hands contrast with the wind chimes’ and Statue of Liberty’s invitation of unbounded movement.
Alyssa Moxley, Same Side of the Street Alyssa Moxley’s Same Side of the Street, 2013 is a camera obscura installation that projects the image of what is outside the front entrance of 6018North onto translucent paper.
Jennifer Karmin, 4000 Words 4000 Dead For Jennifer Karmin’s 4000 Words 4000 Dead, 2008, 2012 words were culled from an online public poem and memorial to the 4,487 American soldiers killed in Iraq. The bathroom within the home is a metaphor to ritually cleanse the returning American soldiers.
Amanda Williams, Color(ed) Theory: Englewood in Edgewater Amanda Williams’ architectural painting within the ballroom, Color(ed) Theory: Englewood in Edgwater, 2013 is her assemblage of colors such as Harold’s Chicken Red, Ultrasheen, Currency Exchange Yellow and Pink Oil Moisturizer used by commercial establishments to sell products to African Americans
Kathleen McCarthy's Antechamber
Kathleen McCarthy's Antechamber, 2015 explores the scale and movement of humans within public spaces. Using a nearly invisible material, clear fishing line, she creates 3-dimensional drawings of architectural components intended to encourage those encountering the work to become more aware of themselves, each other, and the space around them.
Vlatka Horvat, Door to Door
Jane Georges, At This Very Moment
Lise Haller Baggessen and Jason (J. Thomas) Pallas
Jesus Mejia & Ruth, New Colossus
Alyssa Moxley, Same Side of the Street
Jennifer Karmin, 4000 Words 4000 Dead
Amanda Williams, Color(ed) Theory: Englewood in Edgewater
Kathleen McCarthy, Antechamber
Water Music On The Beach 2017
This series of live performances responds to and highlights Chicago’s proximity to water. The compositions and scores - involving multiple performers and solo performances - reflect, react to, or personify the sounds of water.
VIP: Very Important Platforms at EXPO 2017
For this year’s Expo Chicago at Navy Pier, we are again partnering with 3Arts to present 3Arts awardees.
Who needs a microphone? Who needs a stage? Within VIP’s democratic lounge – in the floor above the Fair – the public is invited to create and build platforms together. Aram Han Sifuentes’s Protest Banners Talking Back offers a communal space for people to participate, speak up, and resist. Materials, as well as skills, are shared to create banners. In this space, voices are supported and everyone is invited to come together in solidarity through making. And making is a form of resistance. Onye Ozuzu’s Project Tool is a dance performance and installation in which a sprung wood dance floor is built. The audience is invited to watch and/or learn the skill of woodworking and reconnect body, task, and tool. What is learned physically, emotionally, and conceptually during the building process, shapes the ongoing performance. In this time of insecurity in the arts, Project Tool and Talking Back offers the opportunity to connect, work with each other, and stand strong in the embodied fact that we can literally build our own platforms.