7/11: PRO BIAS (probing bias) // new works by CUDELICE BRAZELTON, ZOE BERG, TAL NISIM, and SANAZ SOHRABI
PRO BIAS (probing bias)
new work by CUDELICE BRAZELTON, ZOE BERG, TAL NISIM, and SANAZ SOHRABI
July 11-August 15, 2015
Opening Reception: Saturday, July 11, 5-8pm
Artist Panel Discussion at Latitude Chicago: Thursday, July 9, 6:30-7:30 PM
The Bike Room
1109 W. North Shore Ave, Chicago 60626
Images courtesy of Sanaz Sohrabi, Cudelice Brazelton, Tal Nisim, and Zoe Berg
The Bike Room proudly inaugurates its 2015 season with PRO BIAS (probing bias), which examines the role and relevance of identity in context of the global art landscape. PRO BIAS resists the persuasion of Globalism’s homogeneity, revaluating the unassimilated stance. With Identity Politics c.1970s forty years past supplanted by social practices and worldwide art connectivity, what does identity look like?
Please also join the artists and curator in a roundtable discussion at Latitude Chicago at 1821 W. Hubbard St, Suite 207, Chicago 60622 on Thursday, July 9 from 6:30-7:30 PM.
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CUDELICE BRAZELTON (Columbus, Ohio) explores issues of race and class, often appraising stereotypes of hyper‑black masculinity. Cofounder of M I N T, an artist-run project space housed in a former meatpacking plant, Brazelton harvests factory-salvaged dirt and detritus to stamp his art objects with a laborer’s hand.
ZOE BERG (Denton, Texas) elaborates homespun myths through performance, video, props and installation. Like a ventriloquist she channels the voices of multiple characters, ranging from her Norwegian grandfather to a flower troll baby deity. Berg accesses pop culture, Scandinavian folklore and family histories to inform her abundant, idiosyncratic narratives.
TAL NISIM (Tel Aviv, Israel) both honors and undermines nostalgic associations with Israeli terrain. His image manipulations include enacting violence upon his equipment; he kicks and smashes photographic lenses, dismembers printers and fastens video cameras to beating metronomes. Nisim overhauls documental fidelity by challenging staid constructs of landscape and recorded histories, and the politics inherent within.
SANAZ SOHRABI (Chicago, IL) elucidates still and motion images that emerge and recede like memories. We recognize political events whose details elude us – Sohrabi’s reenactments are fictions. Choreographed emancipatory movements gather force toward unimagined destinies; assembled bodies coalesce and fall apart. The displaced Self redefines its confines within ever changing environments.
More information about The Bike Room can be found at http://nancylurosenheim.com/