Chicago moves the lines of contemporary art
Chicago is now establishing itself as the host city for artists who no longer manage to survive in New York or Los Angeles. A new epicenter for market players, where strategies of resistance to structures are being reinvented economic.
It may be preserved at the Art Institute of Chicago, the famous American Gothic painting by Grant Wood (1930), satirical depiction of the white colonist engulfed in his conservatism, represents in a way the antithesis of the artistic scene which characterizes the city . In Chicago, the local, collaborative and inclusive invention of community and identity models has been playing for several decades already.
Last spring, Theaster Gates' Amalgam exhibition at the Palais de Tokyo echoed this. The Chicago native arrived preceded by the reputation of the Dorchester Project, the enterprise that rehabilitates a neighborhood on the South Side with a predominantly African-American population, the impoverished south of the city.
In Paris, he dodged the subject. A way of indicating that this aspect of his practice could not move out of its original anchor, that it could not be placed on a base. And it was therefore necessary, to experience it, to go and see for yourself.