The COMP Magazine EXPO CHGO @ Navy Pier 2019 in Photos & Reflection

EXPO CHGO 2019
The International Exposition of Contemporary & Modern Art
September 19-22, 2019
Navy Pier
Chicago, Illinois
website – https://www.expochicago.com

Since arriving in Chicago in 1993 I have had the opportunity to traverse the floors of the annual international art fair(s) held in the city. My initial encounters were in a tent on the west side of LSD, then at Navy Pier, then another collection of tents in Grant Park, followed by other stints at Navy Peir and the Merchandise Mart. This type of art fair is first and foremost about sales. There are attempts to offer young and under-recognized artists and new galleries a place in the dialogue, yet this effort does not fully satiate many locals. Each year some voice opinion noting their disdain for the crassness and how our public funds could be put to better use to support local arts activities, artists and alternative spaces. Some just plain BOYCOTT the whole affair. Simply put, this annual experience feels much like that uncomfortable family reunion where that odd aunt, uncle or distant cousin in question has had a couple to many tumblers and blathers on into unforeseen territory (yep, that be my tribe). Here, there is always curious divisive posturing and a place where sensitive subject matter can be explored at a variety of levels.

Cauleen Smith, Sojourners, presented by Corbett vs. Dempsey Gallery, Chicago, 2019

This year one item that came to mind as I walked the interior of the furthest east hall of Navy Pier with a half-dozen USF Art & Design students in tow was how my perception has changed over the years. I now see the flaws (and strengths) a bit more clearly, observe how the art market trends continually shift to reflect contemporary concerns and note the absentee galleries. Having participated in the fair on a handful of occasions, these days I tend to be drawn moreso to what occurs behind the scenes rather than that presented on the surface. Our conversation was focused more on the business side of being an artist (not surprised). This generation appears to be more atune to the financial aspects needed to be a practicing self-sufficient studio artist to that of their predecessors due to their mounting student loans and their uncertain career prospects. Also, we discussed the process of selecting galleries, the fees required to host a booth, the curatorial process of In/Situ, the programming of panels and talks and, at times, the art itself. All agreed that quality artwork or even a gem could be found, but acknowledged that this event was a clear reflection of the role art as commodity plays in our ultra-capitalist society.

Bisa Butler, To God and Truth, Claire Oliver Gallery, New York, 2019

The 2019 iteration hosted 135 galleries from 24 countries and 68 cities. Artworks could be had for $100 to well over $500,000 (if your pockets were deep enough). There were experimental works in thouroughfares and a variety of arts publications worthy of a read. Talks on future utopias, music concerts about flying, a range of conversations with artists and curators, and a flurry of book signings could be attended. In general, the fair felt healthy in terms of offerings and floor traffic. This is an annual event that the city needs, though much of this ephemeral experience will be forgotten as quickly as it took to setup the temporary exhibition spaces. Much of what will continue to resonate comes with crossing paths with obscure works by artist you have not thought about for some time or discovering a new voice or encountering a new technical approach or just bumping into an old friend who you have not seen since a studio visit a couple years back. These items are generally what I tend to find value in and remember these days.

Additional photographs of EXPO CHGO 2019: