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

Finally ladies, enjoy the video art stylings of Todd Mattei’s God-fina:

Fuck Christmas, give me art…and while you’re at it, get me some more E&J!


lil elote

Looking back on Subprime

October 23, 2008

Subprime at Around the Coyote Fall Arts Festival

October 17-19, 2008

The Around the Coyote Fall Arts Festival is a delightful event.  One may take the weekend with family or friends with the hope of skimming through a selection of local cultural producers; perhaps purchasing a pretty picture from one of the many charming artists who sit beside their work, warmly greeting passerbys.  Wandering through the many rows of booths in the festival at Plumbers Hall this year, more than a few spectators happened upon the Green Lantern booth, with expressions that read, “What the fuck?”  The ‘what the fuck’ expressions ran the gamut of potential applications for the phrase, and also spanned the spectrum of potentially implied feelings, from bewilderment, aggravation, to sheer joy.

“Subprime,” is the busking installation with a rotating schedule of artists, that we set up in the Green Lantern booth. It was initially inspired by Lily, Sarah, and Marvin, the then- members of “Subprime Mortgage,” who took to busking on the streets for the fun of playing for an audience, more than anything else.  For “Subprime,” the artists who took part were promised a video monitor or two, a bucket for tips, and a mobile stage/painting, which would serve as the platform for the artists’ performances and exhibitions.

Once the stage was set, it was all up to the artists to arrive and do their thing; and all of the artists did in fact arrive, more or less, at their scheduled times, and everyone did their thing marvelously.  Greg Cook exhibited his monument to humanity’s sordid erection.  I showed a video about the connection between the painting/stage, my dad, and Sally Struthers.  Marco Kane Braunschweiler & Martine Syms showed a video of empty Chicago landmark interiors.  Rodney Lee conducted his percussive soul transfusion.  Subprime Mortgage collaborated with David Diarrhea, who was inducted into the group through the course of their performance.  Amanda Browder exhibited her rainbow vomitting gorilla.  Paul Cary crooned amid the hustle and bustle.  Tessa Siddle premiered her powerful performance involving surveillance cameras and 6 chickens. Toby Bengelsdorf read penetrating remarks. The Dead Gods brought their own P.A. and very loudly rocked the fuck out! Todd Mattei showed a contemplative video about football and words. And Ventrilla Kiss closed out the festival with a divalicious drag performance.

Central to the praxis of “Subprime” is the action of artists (and artworks) busking for gratuity(ies) from the audience.  There was certainly a rotating audience (especially after our installation was moved from the original booth to the front entrance of the festival, after causing a ruckus and too many traffic jams), and a few people made their way to “Subprime” numerous times, for different performances/displays.  Each performance/display beckoned spectatorship by the virtues of each artist’s practice.  Cumulatively, over the course of the festival, we made a little more than $10 and a cherry tomato.

It happened; we pulled it off; it was beautiful.


Greg Cook’s monument kicked off the event.

The two monitors are playing videos by Young Joon Kwak, and Martine Syms & Marco Kane Braunschweiler.


Rodney Lee Jones took the stage shortly thereafter.


tragic foreshadowing.


Subprime Mortgage


Lily and Marvin


The song called for bangin’ of heads.


Paul Cary


Tessa Siddle


The Dead Gods are setting up, as Toby Bengelsdorf gets ready to read.


Dead Gods


Ventrilla Kiss puttin’ on her makeups.



much thanks to Around the Coyote and my homegirl, Allison Stites.
-Young Joon

It’s a busy weekend for many, and The Green Lantern is no exception. In addition to Brian McNearney’s opening on Saturday at 1511 N Milwaukee, (7-10pm) “Subprime” is participating in the Around the Coyote Fall Arts Festival, at Plumbers Hall: 1340 W Washington, West Loop, Chicago. FYI there is plenty of
Free Parking


Toby Bengelsdorf, Marco Kane Braunschweiler, Amanda Browder, Paul Cary, Greg Cook, Young Joon Kwak, Todd Mattei, Tessa Siddle, Martine Syms, Rodney Lee Jones, Subprime Mortgage (Marvin Astorga & Lily
Robert-Foley), Dead Gods, Ventrilla Kiss

Opening Friday, Oct. 17, 6-10, runs through Sunday, Oct. 19
Around the Coyote Fall Arts Festival
Plumbers Hall, 1340 W Washington

Green Lantern Gallery is pleased to present “Subprime,” a 3-day
busking* installation at the Around the Coyote Fall Arts Festival, for
which the main structural element is– a painting/mobile stage, which
is the subject of an accompanying video piece, and the platform for
the scheduled artists’ performances and exhibitions. The term
‘subprime’ is engendered with the belief that certain communities
represent a lower order.  Taking this for granted, the stage is that
spot in town reserved for the sad and lowly, where through a
performance, a video, or an art object, visual and aural pleasure is
proffered to the audience, with the hope of accruing gratuity(-ies).

* Busking is the practice of performing in public places for tips and

Subprime Busking Schedule October 17-19

6:00    Greg Cook, Monument
7:15    Rodney Lee’s Soul Transfusion
8:30    Subprime Mortgage

1230    Paul Cary
2:30     Subprime Mortgage
5:00     Amanda Browder, Gorilla

1:00     Tessa Siddle, Hey Fox
2:30     Toby Bengelsdorf
3:30     Dead Gods
4:30     Ventrilla Kiss

Videos by Young Joon Kwak, and Marco Kane Braunschweiler & Martine
Syms will be shown simultaneously, Friday & Saturday.  On Sunday
October 19, a video by Todd Mattei will close out the show.

Great Interiors is a contemplative video piece by Marco Kane
Braunscwheiler and Martine Syms, about intimate public spaces.

Subprime is a video by Young Joon Kwak, which explores the connection
between a painting/stage on casters, and Sally Struthers.


Hey Fox!!: A multi-media performance.
Tessa Siddle is proud to premier a new performance at the Green
Lantern Booth at the Around the Coyote Fall Festival, this Sunday,
October the 19th. “Hey Fox!!,” seeks to blur the line between the
personification of animals and the de-personification of the artist by
performing legendary animal behaviors whilst confessing personal and
animal desires through live video feeds.

Donations go directly to the artist.

for more info go to:

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