100 Top International Galleries to Exhibit at EXPO CHICAGO on Navy Pier

Opening the fall art season each September, EXPO CHICAGO hosts leading international art galleries presented alongside one of the highest quality platforms for global contemporary art and culture.

CHICAGO — The inaugural EXPO CHICAGO, The International Exposition of Contemporary/Modern Art and Design, will host an exclusive list of the world's premier galleries in Chicago Sept. 19–22, 2019 in Festival Hall at Navy Pier (600 E. Grand Avenue). Produced by Art Expositions, LLC under the leadership of President and Director Tony Karman, the new fair will open the international fall arts season and establish Chicago as a preeminent art fair and cultural destination. For more information, please visit www.expochicago.com.

EXPO CHICAGO draws upon the city's rich history as a vibrant destination for arts and culture.EXPO CHICAGO will bridge a critical gap for Chicago's contemporary arts community, helping to define the cultural future of Chicago, and inspire the city’s collector base.

“The groundswell of support that we have received since our initial announcement of EXPO CHICAGO has been tremendous,” said Karman. “To have world renowned galleries, cultural institutions and museums joining us at this stage is truly extraordinary. I believe strongly that the art world will be marking their calendars to be in Chicago this September.”

EXPO CHICAGO will limit number of participating exhibitors to no more than 100 top tier dealers. They include: Alexander and Bonin (New York); David Zwirner (New York, NY); Matthew Marks Gallery (New York, Los Angeles); Richard Gray Gallery (Chicago, IL); Galerie Karsten Greve (Cologne, Germany, Paris, France and St. Moritz, Switzerland); Galerie Hans Mayer (Düsseldorf, Germany); Annely Juda Fine Art (London, England); Kavi Gupta (Chicago, Berlin); CRG Gallery (New York, NY); Barbara Mathes Gallery (New York, NY); The Mayor Gallery (London, England); Luhring Augustine (New York); Sean Kelly Gallery (New York); Yvon Lambert (Paris); Leo Koenig, Inc.(New York);Galerie Buchholz (Berlin); Galerie Lelong (New York, Paris, Zurich) and D’Amelio Terras (New York, NY); Anthony Meier Fine Arts (San Francisco, CA); The Pace Gallery(New York); and Rhona Hoffman Gallery (Chicago, IL).

“Chicago has a vibrant and rich history in the arts, and I am committed to building on this history,” said Chicago Mayor Rahm Emanuel. “This contemporary international exposition will bring artists, dealers, collectors, and curators from around the world to experience Chicago’s culture, and will further establish Chicago as an international leader in the arts.”

EXPO CHICAGO’s design-forward interior environment is by the world-renowned Studio Gang Architects, led by MacArthur Fellow Jeanne Gang. Gang will take full advantage of Festival Hall’s expansive space and ceiling height, creating a show floor that offers generous-sized exhibitor booths and spaces for special exhibitions, as well as ample room for large-scale installations and patron amenities. Navy Pier’s unparalleled views of Lake Michigan and downtown Chicago will provide the perfect backdrop for her design. “I’m very excited to be part of the EXPO CHICAGOteam,” Gang said. “We are looking forward to producing engaging, unconventional spaces to enrich the visitors’ and exhibitors’ experience of the show.” 

EXPO CHICAGO’s design-forward interior environment is by the world-renowned Studio Gang Architects, led by MacArthur Fellow Jeanne Gang. Gang will take full advantage of Festival Hall’s expansive space and ceiling height, creating a show floor that offers generous-sized exhibitor booths and spaces for special exhibitions, as well as ample room for large-scale installations and patron amenities. Navy Pier’s unparalleled views of Lake Michigan and downtown Chicago will provide the perfect backdrop for her design. “I’m very excited to be part of the EXPO CHICAGOteam,” Gang said. “We are looking forward to producing engaging, unconventional spaces to enrich the visitors’ and exhibitors’ experience of the show.”

Special Programs and Events Enrich EXPO CHICAGO Attendees’ Experiences

EXPOSURE Designed to be an important component of the fair, EXPOSURE affords up to twenty younger galleries that have been in business five years or less the opportunity to participate in a major international art fair. A special presentation of one or two artists by each of the participating galleries provides critical exposure for their programs, offering an important opportunity for curators, collectors and art enthusiasts to survey the best in innovative and emerging work. The booths are 200 square feet and have a reduced rate.

IN/SITU Another key component of the exposition's innovative artistic programming is IN/SITU, which provides the opportunity for exhibitors to showcase large-scale installations, site-specific and performative works by select international artists. Situated throughout EXPO CHICAGO's expansive floor, IN/SITU will provide a dynamic itinerary that connects various points of interest throughout EXPO CHICAGO. IN/SITU will be curated by writer and independent curator Michael Ned Holte.

/DIALOGUES Presented in partnership with The School of the Art Institute of Chicago (SAIC), /DIALOGUES is a year-round program of symposia, panel discussions, and provocative artistic discourse. The series will culminate with informative and thought-provoking daily events during the fair, highlighting the field's leading artists, architects, curators, designers and arts professionals and the current issues that engage them.

VIP PROGRAM EXPO CHICAGO will offer an exclusive VIP Program that will include access to invitation-only events and tours organized by top curators as well as direct access to special guests. Many important Chicago area art organizations and business leaders have joined with EXPO CHICAGO to offer related programming that will augment the fair both on the exhibition floor, in other areas of Navy Pier and throughout the city. VIP Patron Program details will be announced at a future date.

VERNISSAGE EXPO CHICAGO will team with the Museum of Contemporary Art Chicago to launch the fair with the return of Vernissage, an exclusive opening night preview celebration. For many years Vernissage was a highlight of the city’s social and cultural calendar and is set for Wednesday, Sept. 19,22, 2012, co-chaired by Marilyn Fields and Jennifer Aubrey. The event will offer first viewing of the fair, as well as the opportunity to meet members of the international art and design communities. Proceeds from Vernissage benefit the Museum of Contemporary Art Chicago.

In addition, EXPO CHICAGO has already established partnerships with over 40 institutions, including the Art Institute of Chicago, the School of the Art Institute of Chicago, the Museum of Contemporary Art Chicago, the Renaissance Society, the Smart Museum of Art, Hyde Park Art Center, threewalls, International Sculpture Center, Chicago Children’s Museum, and ArtTable. For a complete list of partners to date, see the partner document in the press kit or on the newly designed www.expochicago.com.

www.Artspace.com, an official partner with EXPO CHICAGO, provides an online platform for guests to plan their visits, purchase tickets and access educational programming. Those not able to visit the fair can also preview and purchase artwork from participating exhibitors access educational programming on Artspace.com.

Art Expositions, LLC presents the inaugural EXPO CHICAGO, The International Exposition of Contemporary/Modern Art and Design, at Navy Pier’s Festival Hall at 600 E. Grand Avenue, Sept. 19 – 22, 2019. This four-day art event features 100 leading international galleries and offers a curated blend of contemporary/modern art and design.

For more information visit www.expochicago.com

Papa Francisco looked for a smartphone , smiled and photography became viral

Image published on Twitter of Italian journalist was widely publicized.
When your smartphone is with the camera pointed at us, the practice is often a smile. That is what the Pope did Francisco , on Wednesday , with three teenagers , in St. Peter's Basilica in the Vatican . The Pope smiled Francisco in his first selfie - the new English term for the self - portrait taken by a smartphone that ends up on social networks . The self -portrait was drawn by one of the three young men . An Italian journalist got the photo and published it a day later on Twitter with a single adjective , " epic" . The image went viral .

It is an amazing act to the highest pastor in the Catholic hierarchy . Two reviews of the tweet journalist Fabio M. Ragona said something like : " Now I've seen everything." Although oriented indulgent associated with selfie - nowadays there are " selves " all, " I " at the hairdresser , to lunch , to the beach in the background , " I " with friends to have fun at the disco - the "I " the Pope seems to be more linked to appreciation of his young fans , religious and smiling, in the midst of the temple .

Perhaps this is only the continuation of its effort to be in contact with others. After all , the Twitter account of Pope Francisco is frequently updated . And a few days ago it was learned that the Pope called again a believer . This time the call was made to an Argentine woman , mother of six biological children , who had been raped by a police officer , and he wrote years later , the Vatican , in a letter to his story that caught the attention of the Pope.

" He restored peace and faith in me and gave me strength to continue," said Alejandra Pereyr cited by Time magazine . " When I heard the voice of the Pope , which was felt to be touched by God. "

But the Pope Francisco is not limited to technology to get closer to the Catholics . When he was in Rio de Janeiro , Brazil , made ​​a point of visiting people who live in slums . In your own backyard , at the Vatican , there are dozens of photographs documenting him in St. Peter's Square , to give a kiss on the face of infants and children . Of these , perhaps the most poignant is that of the Pope being embraced by a young girl straight hair and white ribbon on his head . The girl's face is covered by the profile of Pope Francisco , once again , smiling .

Remember Samuel Aranda: The important thing is the pictures

Samuel Aranda:
The important thing is the pictures
Samuel Aranda, Spanish photojournalist World Press Photo winner, talks about the craft and how to monitor the revolutions have been Arabs. The exhibition with the best photo journalism should be back to Macau in October.

It is likely that some of those who visited the Garden House between September and October of last year still remember several of the pictures there exhibited. But it is also normal that many have disappeared from memory. The photograph of the Spanish Samuel Aranda who has just won another edition of World Press Photo, the most important reward world of photojournalism, is among those not too shocking, perhaps, may even go unnoticed next to the blood more explicit.

This will pass and now, it seems, can be seen in Macau along with many others in the next October. The House of Portugal, which in recent years has brought exposure to Macau and the Garden House - the only place on Chinese soil where it has been shown - PERIOD told that although there is still no confirmation, the talks are forwarded to the best in the world press photo published again be enjoyed in the territory.

A photograph of Samuel Aranda, a man of 33 years born in Barcelona and began his career at 19 in El Pais and El Periodico de Catalunya, would be captured on 15 October 2011. A woman completely covered embraces a wounded man. The stage was Sanaa, the capital of Yemen, a mosque during the popular uprising in the country was transformed into a hospital by the forces opposing the regime of President Ali Abdallah Saleh.

"On that day the protesters protests began at 10am and the military through the demonstration began firing on them. The photo was taken near a mosque that was being used as a hospital. This woman, Fatima, is to hold the child while waiting for medical help, "says Samuel Aranda, by telephone from Yemen.

The connection is bad and it is not easy to hear the words of the photojournalist. The day in Yemen is of some importance, because it is the aftermath of the presidential election Tuesday, which had the only candidate - Vice President Abdurabu Mansur Hadi - but also the power to remove the name of President Ali Abdallah Saleh's political scene . "This implies in principle a transition and a constitutional reform, and a general election in a couple of years. The situation is more or less quiet in the center and north. In the south there are some separatist conflicts, "he continues Aranda.

Feminine forceThere is a photojournalist camera in hand, which in recent months has passed by Tunisia, Egypt, Libya and other parts of the tumultuous Arab world. And there's a woman hugging a wounded man. What drives the lens to go in that direction? "There were a lot of chaos, a lot of people running, noisy, and this woman had an attitude of tranquility, a lot of wholeness in the midst of all that chaos."

Samuel Aranda explains what you can remove the photo you did. "I think we have an idea of ​​an Arab world where women live entirely oppressed, always below the man, and I think it is not so. In most cases, women are responsible for many things. In this case it's own son, but women are very important in these societies, much more than we think, "bails.

Despite having covered some of the most emblematic of the movement of popular uprising known as the 'Arab Spring', the photojournalist is not aligned on generalizations that marry the different movements and ensures that "in each place was a different story in each country a different context ". In Tunisia the turn "was much more passive, no weapons, no nothing." In Libya "was a civil war more than anything else. They are very different cases, one can not generalize. "

Award of oxygenSamuel Aranda is in Yemen, where he has spent the months October, November and December last year. At that time "was quite complicated to work, because the police and the army of the government you could not identify yourself as a journalist." Aranda decided to remain and work in the country without authorization. People gave him security to do so. "In what is civil society have not had any problems. People are very friendly, very open and friendly. "

The prize was awarded to him this month "is very good at getting to do new projects, because people are more open to support," explains the man who has photographed in Lebanon, Iraq, Gaza, and even in Morocco China. More important than the high profile that brings the World Press Photo "images are" captured and that "the fact that the picture came back in the news these days," he recalls.

The image was selected from more than 100,000 photographs in the competition, written by 5247 professionals from 124 countries. It will be one that, from April 20 in Amsterdam, will join the new exhibition of World Press Photo that will travel more than 120 cities around the globe. "It's a picture that talks about across the region. Represents Yemen, Egypt, Tunisia, Libya, Syria, all happened during the 'Arab Spring', "said Koyo Kouoh, one of the jurors, said in a statement.

Despite the difficulties that have passed since he chose to devote himself to photography, Aranda account to continue. Where will the lens is more difficult to say, but can pass through a homecoming. "I do not know ... I said several times that he would shoot the current situation in Spain. I would love to have a perspective that, to see how young people rise up in revolt against Spain and the system we have. "

More distinguished photojournalists

The World Press Photo distinguished, and Samuel Aranda, professionals in various categories. The Japanese Yasuyoshi Chiba won the first prize in category "People in the News Singles", with a report on Japan after the tsunami that devastated the country in March last year. One image shows a woman to do the diploma of his daughter, found amid the rubble of the city of Higashimatsushima, north of Fukushima. The photojournalist Afghan Massoud Hossaini also saw their work by the jury awarded the World Press Photo, a photo taken with a Shiite shrine, the scene of an explosion on Dec. 6, in Kabul, Afghanistan.

A photograph of an Afghan child 12 years to scream along with several dead and wounded won second prize in the category "Spot News Singles." The Russian Yuri Kozyrev won first prize in the category "Information" by the photograph of a group of Libyan rebels, captured on March 11 in Ras Lanouf. In the category "Contemporary Issues Stories" stood out Mexican Pedro Pardo, for his work on the war of the drug cartels in Mexico. The World Press Photo jury also awarded a special mention of an amateur photography that shows the former Libyan leader Muammar Gaddafi, when he was captured and dragged into a military vehicle on 20 October 2011 in Sirte, shortly before his death.

London's Puddles Reflect the City's Beauty

Gavin Hammond
London is known to be a rainy town, which isn't thought to be an ideal location for uplifting inspiration, but Londoner Gavin Hammond finds captivating beauty in his city's soaked streets. 

Hammond's series entitled London in Puddles depicts a somber yet intriguing view of the damp town, focusing on puddles that reflect its surrounding citizens and architecture.

We've shared the lomography enthusiast's photography in the past, but this new series of images exhibit a heightened sense of uninhibited love for one's city. 

There's something about seeing a town through the blurry ripples of a splash of water on the ground that makes it seem all at once magical, haunting, and beautiful. 

Through the cracks in the streets an image of London's greatest architectural attractions emerge. Hammond's series offers an alternate universe within the dreary puddles that displays the city in its simplest form, without the gloomy weather to mask over its magnificence.


The Verisimilitude of Violet Forest's Film Photography

The Verisimilitude of Violet Forest's Film Photography

Violet Forest is not just 'another film photographer.' To her, film photography exudes a sense of purity and truth. She prefers to captivate natural phenomenons instead of staging photographs. Read more about her analogue endeavors and take a look at her masterful series, right after the break.

Tell us something about yourself.
I’m a 22-year old artist. I started making art consistently by photographing and I’m venturing into other mediums like video art and music. I’m also in the process of having my photographs shown in some Miami galleries, so I’ve been busy with presentation like framing and matting, and paving a path for myself outside of college, which is pretty nerve-wrecking.

How/When did you begin taking pictures? What was your first camera?
After doing two years of a technical Web Development degree I was dying to take a Fine Art class. I started taking black and white 35mm photographs in my Intro to Photography class in Community College. I’ve been doing 35mm for almost four years now and have been pretty consistent with the Canon AE1 and a 50mm lens. I switch to wide angle 24mm from time to time, and lately I’ve been shooting medium format.

Describe your style in photography. What are your usual subjects and themes?
I don’t remember the last time I staged a photograph. I prefer to see my days unfold and let my camera document what is presented in front me. I guess it adds some kind of truth to my practice, to know that certain event, habits, natural phenomenons will go on without my control. And when I go through my negatives in the future I can see how I reacted to my environment and the conditions of what I was going through at the time, and the people I was involved with.

Sometimes I don’t want the person to know I am watching them, because once they find out, they change their demeanor and therefore my initial vision, like they react to an invasion of privacy.

This photograph is part of the Vickie series, a body of photographs I’ve been editing for over two years now. I would visit her at her apartment with my camera and an extra change of clothes to spend the night. Our relationship grew over time as I got to know her better in an intimate setting, where I watched her like a guardian angel, getting to know her strengths and weaknesses, which required a great deal of empathy. The project naturally enfolded into an epic poem, with Vickie as the hero and her own enemy, as both muse and martyr.

Lately I’ve been working with disposable cameras to let go of my rigidness and increase the confidence in my practice. Since they are fixed lens I can extend my arm toward my subject without looking at the viewfinder, kind of like pouncing on prey, where my subjects don’t know its coming. Ideally this needs to develop with a Yashica T4.

And then there are times when I’m alone and studying phenomenons that are beyond me.

What is the soundtrack for your series of photographs?
I would guess the soundtrack depends on the ambience of your surroundings when you are looking at the photograph. Which makes the internet a great thing, because every individual can have his own soundtrack when he looks at the photographs on their computer screen. Galleries are interesting because the same ambient soundtrack is shared by everyone who is in the room at the same time.

We all have our idols, which photographers do you look up to? Who or what influences your photographic style?
I know more about photobooks than the oeuvres of photographers. Robert Frank’s The Americans is great because of its epic narration. There is no gimmick, only a sequence of great photograph after the next. Which is kind of the same as the The Ballad of Sexual Dependency by Nan Goldin. Both deal with sociology, but I would say Robert Frank’s has less to do with a subcultural, social realism and more with constructing a mythological symbology of the essence of 1950’s American culture as a whole.

As far as contemporary photographers, I found Canadian Dimitri Karakostas here on Lomography and was excited about how authentic I felt his photographs were.

Amongst your numerous film photographs, which is your favourite?
I just printed this image 20 × 24 and I could spend hours staring at it. I think the aesthetic experience is at its richest. My eyes never get bored flowing from each grain to the next. I guess I was so enthralled in the experience that the camera as a medium was successful in translating that.

If you could take anyone’s portrait using film, can be living or dead, who (would it be), which (camera would you use), and why?
I already created a contemporary photographic mythology out of Vickie. I want Alice Glass to be the main character of my next epic poem.

Analogue vs. Digital. What makes analogue/film photography more special than digital?

The more mediums you go through, the more information is lost, and I think there is something more valuable in an experience that is rendered more purely. A digital image is just a binary code, decoded by a computer. But when light hits the grain on film, the photons of the light chemically react with the grain to make metallic silver. There is a sense of purity, or truth, to me at least, that the actual photons of light that bounced off my subjects are now in my negatives, in an evolved, not substitued, silver metallic form.

Do you own Lomography cameras? Which is your favourite? / Which Lomographic camera would you like to have and why?
I did use a Diana F+ for about a month. Lomography cameras are a great bridge from the digital world to the analogue world. It’s easy to feel intimidated by film, but Lomography cameras make the experience fun and comfortable. Here are a couple of 35mm images I used with the Diana to give it the panoramic feel. I also bumped up contrast:

A lot of people are into photography today, what would you say to them to inspire them more?
Do you what love. If you don’t know what you love, try things until you find out. Follow your intuition. Don’t stop. Make it your life.
“It does not matter how slow you go so long as you do not stop.” — Wisdom of Confucius

Aside from your website, do you have other creative online/offline projects? If none, what other creative pursuits do you wish you could explore?
I have so many… As far as visual, I’m working on a video art project that investigates the same concept of the analogue VHS tape versus the digital DVD, except it involves the moving image instead of the photographic image. So I’m getting old VHS tapes from Goodwill and editing them on VCRs and video mixers instead of Final Cut Pro, and I’m finding ways of projecting them on walls. I also got invited put some photographic work in an issue of the zine Blood of the Young. And I’m still actively photographing, but this time with a medium format Mamiya 7, and I’m dying to buy a Yashica T4.

Halina 35X

Halina 35X

Falling somewhere along the vague line between toy cameras and "real" cameras - is the old Halina 35X. It's really a very strange camera. It may or may not have been a copy of the Japanese made Ranger 35 camera. It's not quite certain, but the Ranger 35 went out of production around the same time the Halina 35X appeared, so there may be a more direct link than mere imitation.

Halina was a brand name used by Haking of Hong Kong. The 35X appeared around 1959 and seems to have been available for at least a decade after that. It was sold primarily in Britain, though a few went to Canada and other countries. It does not appear to have ever been sold in the U.S. 

A quick look at the specs: F3.5/45mm triplet lens. Shutter speeds 1/25 to 1/200 +B Shutter speed is regulated by spring tension, and must be cocked manually. Scale focussing down to 3 feet. Knob wind.

The body is very compact, but surprisingly hefty. The camera doesn't seem to have any aluminum parts, and is composed mainly of die-castings, with a few brass bits here and there. The quality of the camera is really - interesting - to put it one way. It's so "loose" and "un-camera-like" it gives the feeling that it must be a facsimile of a camera, rather than an actual camera. This sounds weird, but when you have one in your hands you'll understand. It is both familiar and alien at the same time. 

This one came to me with fungus in the lens, and upon disassembly I found another surprise. The front and rear elements of the triplet lens are coated. The center element is not! A penny here, a penny there...

Also it was perhaps the most frustrating experience I've had disassembling a camera. The design is very simple and straight forward, but they used a tacky substance on the lens helical to "hold" the focus in place. It's definitely not grease, and I was told the focus on these was stiff when new. The annoying thing is this stuff is really sticky and once you get it on your hands you get it everywhere, and it's near impossible to get off. So be warned! If you have to take one of these apart clean this goop off of right away with lighter fluid and save yourself some frustration. I regreased it with white grease.

There is noticeable light fall off in the corners on most images taken in anything other than bright direct sunlight. The overall effect created by this camera reminds me a lot of the Lomo LC-A, except without the noticeable pincushion distortion. The soft contrast, tendency to flare, vignetting.

Other notes: The camera has double exposure prevention, but you have to cock the shutter manually. If you press the shutter release without first cocking the shutter - you forfeit your exposure for that frame. However if you do do this - just continue to hold the shutter button down, and cock and release the shutter with your other hand. In fact as long as you hold the shutter button down, you can make as many exposures on a frame as you want by recocking the shutter. Once you let up on the button though, you are prevented from making another exposure until you wind on. 

I'll be shooting a roll of B/W in the future so I'll probably do an update when that happens.