Chicago Architecture Biennale VIP Breakfast: Saturday, September 16 // 9 AM - 12 PM Public Celebration: Saturday, September 23 // 4-8 PM Open: Thursdays, Fridays, Saturdays, Sundays // 1-5 PM
Challenging art, architecture, work, and play, The Chapuisat Brothers’s tree-top In Wood We Trust is entered by crawling through a tunnel inside 6018North. Built entirely of wood, the large invasive structure and exhibition transforms our perception of the space it occupies and the people within it. An anarchitectural intervention, it is a deceptively playful yet dramatic utopian experiment in building community through architecture and art. While the main floor of the structure is in the tree-top, below visitors are invited to physically thread through winding passages and get lost within its intricate maze, funhouse, and collective space. 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.
In many ways, the Chapusiat Brothers use brotherhood as a fundamental metaphor for their communal, experimental, utopian venues that question whether art, life, play, work, or communal creation is occurring within them.
6018North is an Affiliate Partner for the Chicago Architecture Biennial.
This project is partially supported by a grant from the Graham Foundation
Black Out Dinners
6018North – 6018 N. Kenmore
December 1-3 and December 8-10
Fridays, Saturdays, and Sundays
Black Out Dinners is an experiential event, a three-course vegetarian dinner in the dark created by a chef and served by Chicago Lighthouse employees. These dinners continue the 6018North mission of connecting people through intimate, transformative encounters.
We will meet in 6018North’s first floor to view the menu and order wine in the light, and then be escorted to the dark ballroom upstairs. After the meal we will have dessert together downstairs and engage in a conversation led by the Chicago Lighthouse servers about the experience.
Black Out Dinners included in Crain’s Top Ten To Do for the weekend.
Check out some of the press about last year's dinners, and RSVP for your spot now:
Black Out Dinners explore how to accomplish mundane tasks – eat with a fork or hold a glass – relying on just four senses. It also allows diners to consider how much of our reliance on the visual sense affects how we taste. – Megy Karydes, Forbes
In the age of Instagram, photographing and posting vibrant pictures of food online has become a social norm — one that lets you show off beautiful meals as works of art. But a new interactive exhibit at one of Edgewater's historic and unique mansion-turned-artist-space is aiming to force diners to hone in on the taste and smell of the meal. – Linze Rice, DNAinfo
Open Hours: Thursdays, Fridays, Saturdays, Sundays from 1-5 PM through January 7
A mushroom insulation wall Mykitas Epoch – Habitat by CV Peterson asks visitors to rethink insulation, an often imperceptible or ignored aspect of architecture. Peterson elevates insulation into a relief sculpture using Ecovative’s mycelium mushroom poured into her designed and chiseled molds. Mykitas Epoch – Habitat is supported in part by Ecovative.
CV Peterson is an interdisciplinary artist residing in the Chicago area. Their work combines scientific exploration of microbes that can consume plastics and art to examine environmental devastation through immersive interactive installations and explorations of fungus and plastic as art mediums. They received their MFA (’16) from The School of the Art Institute of Chicago, a BFA (’14) from The School of the Art Institute of Chicago, and a BA ('10) from Gustavus Adolphus College in Japanese studies and studio art with a Magna Cum Laude and Phi Beta Kappa.
Terrain Biennale 2017
Make Me a Rainbow
October 1, 2017 – January 2018
Preview: Saturday, September 30 // 6 PM
Make Me a Rainbow is part of the 2017 Terrain Biennale, a multi-site exhibition occurring in outdoor locations worldwide. Outdoors on the roof of 6018North, Chicago artist Joey Asal, using water and perfume, will create an olfactory rainbow that occurs during twilight, the golden hour. The scents in the atomizer mist sprinkler system reflect the diverse backgrounds of the neighborhood residents.
Inside on the top floor of 6018North, Rodrigo Lara Zendejas will create an installation based on “Los Voladores de Papantla,” an ancient Mesoamerican ritual during which participants dance on top of a 98 foot pole. Zendejas’ work will spin, creating a rainbow of colors as a parallel to Asal’s outdoor work.
The exhibition will also include previously installed outdoor projects, including the 6018North planters and roof garden by Sarah Mallin and an alleyway garage mural by Moises Salazar.
Joey Asal is a graduate student of design at the School of the Art institute of Chicago. In addition to a rich portfolio of dynamic large scale site-specific installations, Joey is a trailblazer exploring the sensory experience in all its capacities, most notably as it relates to the sense of smell.
Rodrigo Lara Zendejas was born in Mexico 1981. After he graduated from University, he has been teaching courses and workshops in Mexico and the U.S.A. Rodrigo Lara received his BFA from Universidad de Guanajuato, Mexico, and his MFA from the School of the Art Institute of Chicago. Lara's work has been shown extensively in Mexico, the US, Canada, Europe and China. Currently he lives and works in Chicago, IL.
Sarah Mallin is a chef, gardener, and yogini extraordinaire. As a graduate of Moksha Yoga Center’s first teacher training program in 1989, Sarah incorporates yoga and mindfulness with edible gardening, nutrition, cooking, and healing through her biodynamic business Pyrite Sun. She also teaches classes in home cooking and gardening for the Peterson Garden Project in Chicago.
Moises Salazar is an artist working in painting, drawing, and sculpture, video installation. Currently a student at the Art Institute of Chicago, he aims to present new possibilities for exploited people, undocumented immigrants, and people of color through his work.
A Room Has Its Own Voice
Open Hours: Thursdays, Fridays, Saturdays, Sundays from 1-5 PM through January 7
A Room Has Its Own Voice captures the sonic frequency or acoustics of a room. Artist Troy Briggs 'tunes' the interior rooms to the same frequency. Without visual cues, A Room Has Its Own Voice asks us to listen to rather than look at the architecture of a room.
Troy Briggs is an interdisciplinary artist. He employs technology and sound and everyday objects to create subtle interventions in public and private space. Often slow and almost always very quiet, he creates works that connect listeners and viewers to sounds and images that speak to the delicacy of human connection though the simplest of means. Briggs has exhibited in Chicago, Portland, Oregon and Berlin. He teaches at The School of the Art Institute of Chicago and sculpture, sound and new media at Cathege College.
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