Twelve Galleries Project Presents…
Quarterly Site #3: Stay In Your Lane!
hosted by the Swimming Pool Project Space
Opening, Saturday July 17th, 6-10pm

Twelve Galleries Project presents…
Quarterly Site #3: Stay In Your Lane!

July 17 – August 15, 2010

Opening Reception and Pool Party: Saturday July 17, 6-10 pm at the Swimming Pool Project Space located at 2858 W. Montrose Ave, Chicago, IL 60618.   Poolside Performances with Academy Records and others will begin promptly at 7:30 pm.

Twelve Galleries Project began as a roving exhibition series featuring the work of emerging artists over the course of one year. With each new month, a new location was selected and a new gallery was formed, producing 12 site-specific exhibitions from JANUARY all the way through to DECEMBER gallery.

For its second transitory venture, Twelve Galleries Project presents the Quarterly Site Series. QSS will focus its attention to the efforts of curators and current Chicago galleries. Every quarter for the next three years, within an existing Chicago
gallery, three curators will collectively organize a themed exhibition. Specific to QSS is collaboration. With the exception of a predetermined theme that is conducive to varied interpretation, there are no rules. Because there are no rules, each group of curators has the possibility to develop a unique model of curatorial practice.

Quarterly Site #3: Stay In Your Lane! is hosted by Swimming Pool Project Space. Using the theme of direction, three curators conceptualize their various interpretations of the word by dissecting the gallery into physical lanes.

Urban Dictionary dot com defines:

stay in your lane [stey] [in] [yoo r, yawr, yohr; unstressed yer] [leyn] Stop talking about things you don’t understand or know. Let experts do the talking. Don’t talk out of your ass.

Well, the prestigious institution that is Urban Dictionary dot com need not worry any longer because we have assembled the experts right here, right now for Quarterly Site #3: Stay In Your Lane! And, as you may already know, experts don’t have to follow the rules-they make ’em, as is evident by the curatorial efforts of Anthony Elms, Katherine Pill and Philip von Zweck. Organizing a three-four-five-six-in-one exhibition, each curator has expertly directed the theme of direction into a walled off lane within the gallery space.

Anthony Elms curates the work of artists Danielle Gustafson-Sundell, Shane Huffman, Erin Leland, Matthew Metzger, Sonny Venice and Philip von Zweck.

Every driver thinks that they are a great driver, and every driver is an expert on the road of life. However, being that expert driver on his cell-phone who drives just over the yellow lines and even occasionally veers off into on-coming traffic, Elms curates a lane that asks itself, Can I really manage to stay inside these lines? And furthermore, do I want to:

The world is black and white; between the lines. Keep your hands on the wheel and your eyes at the horizon. Get lost in the scenery, for even a second, and you’re likely to drift, dragging your side against the guide rail. Oops. Of course, now that the damage is done you have to admit that the scraped paint looks pretty nice. And the crumpled, slashed and puckered surface feels real nice to the touch. Fits the hand nicely, even.
-Anthony Elms

Katherine Pill curates the work of artists Madeleine Bailey, Samantha Bittman and Matt Nichols.

Curating site-specific works that concern the idea of self-control and discipline, Pill creates a lane that is meant to be followed precisely. In order to exemplify the often strict regime of the artist, she taps into her right brain’s expertise and formulates a visual representation of persistence and will-power.

Philip von Zweck curates sub-curators Christina Cosio, Stevie Greco and David Roman.

von Zweck divides his lane by three to establish himself as the mathematical expert of the bunch. The ultimate delegater, he then directs those who direct by selecting three proxy curators. In turn, each sub-curator directs their own lane within von Zweck’s initial lane. Yes, it is quite the equation:

Christina Cosio curates the work of artist Erik Peterson.
Stevie Greco curates the work of artists Jason Bryant, Todd Mattei and Caroline Picard.
David Roman curates the collaborative work of artists Matt Irie and Dominick Talvacchio.

Also, you don’t want to miss…

Pool Party!

In honor of Swimming Pool Project Space’s two-year anniversary, the gallery’s outdoor space will be the location of Pool Party, an anniversary celebration. Featuring art, food and fun games selected by the directors of Swimming Pool Project Space and Twelve Galleries Project as well as the live entertainment of Academy Records and friends.

Pool Party is one night only, during the opening reception of Quarterly Site #3: Stay In Your Lane!

Swimming Pool Project Space
2858 W Montrose
Chicago, Illinois 60618

posted by Caroline Picard, this was originally published in an old ARCHIVE

Todd Mattei at Rowland contemporary
By Stevie Greco

I only recently began a career as a gallerist, not having any prior experience with this system, terms like “art fair,” “assistant, check my email” and “project room”, once foreign, now act as a central part of my vernacular. Project room is one bit of jargon still perplexing: How does this annex fit into the rest of the gallery space?  Is it a closet? Whose work belongs there?  Why do project rooms always have weird videos? The project room, often overlooked, seems the bastard stepchildren of the gallery.

At my gallery we often remind viewers of that scoundrel appendex with a polite “Don’t forget the project room” or something similar. Usually after a quick view, said visitor trudges out the door. I won’t lie, my employer and I have a constant battle about whose turn it is to turn down the pervasive sound (yes, there’s usually pervasive sound) when our patron leaves. Then there are the times when the project room artist outshines the main gallery space, as in the current show at Rowland Contemporary.

Rowland Contemporary, at the corner of Fulton Market and May Street, presents a set of Rorschach paintings in its main gallery; the strange fetus forms on white matte look washed out in the glaringly white cube. From the front door of Rowland, however, the viewer can see the project room (which, by the way, is also the gallery’s office, a testament to the dispensable nature of the project space), where a digital video calls out to the viewer “come look!”

Todd Mattei shows Temporary Psychosis Machine (2006), a 6-minute looped digital video. The video, depicting scenes of the Jersey shore and a Coney Island-like carnival, makes even the autumn loving viewer long for summer. Turning busy beaches and loud roller coasters into idyllic places by his use of light and sound, Mattei’s film offers resonant images. He follows no narrative, instead focuses on shapes; he pulls humorous smiley faces out of still architectural shots, studies the rounded head of a sea gull, observes the movement of the waves rolling to and from the ocean.

To accompany the video Mattei shows six digital photograph collages, mimicking the shapes in the video albeit with different subject matter. The collages, too, investigate mottled scenes; the artist uses real images to create new and imaginary shapes and things. In particular, he examines the bipolar nature of the landscape. The study of things as landscapes, for example, Mattei’s scrutiny of batteries and wires, communicates that each thing and each place is at once beautiful and ugly, tranquil and dangerous.

Mattei’s project at Rowland takes time- the viewer must sit with it a minute and study the work in solitude, which isn’t a hard task when listening to the sound bytes of all-American summertime though headphones. Perhaps the role of the project room here is to give the viewer time to understand what is going on. Robert McDonald’s work in the main gallery space is repetitive and stark, but Mattei’s objects sit peacefully and miserably in the back, perhaps a metaphor for his landscapes and the notion of the project room itself.

Todd’s website:

For more information about Todd’s show at Heaven Gallery please visit

Joan of Arc poster

It was the last of Stevie Greco’s shows. The end of her curation period. We’ve been treating these music events like a quarterly, if that makes any sense and over the course of the year have had some great conversations about the possible integration of music and art, and of course literary sundries. It seems strange that there we have carved out distinct avenues for cultural consumption, like it’s gotta be one thing or the other. Either music. Visual Contemporary High Art stuff. Pop culture Candy- movies –tigerbeat etc. Writing.

            Stevie said this was like a family show- MALE was releasing their record, + Emmet Kelly + Joan of Arc; they’re all friends of hers and awesome people to work with. Like a grand fanale for us. Todd Mattei played two sets in a row, both in MALE and in J/O/A.

            And Stevie and the bands and I kept going back and forth, trying to figure out how to have a show in the same space as the exhibition, when the exhibition took up so much of the floorspace, and was delicate, filled with all the delicate precious treasures of other people’s lives.

            It worked out though; we taped off a section, removed the tail of the installation, so the band could set up there, by the radiator, and run along in front of the exhibit like a fence. I was by the door mostly; it was another one of those shows where we found ourselves at max capacity and it was pretty hot up there. A good show though, for sure. 

Joan of Arc shot

You can check out some clips of the performance on u-tube…..