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Saturnine

Theodora Allen, Antoine Donzeaud, Assaf Evron, and Wim van der Linden

Curated by Stephanie Cristello
At Chicago Manual of Style, Chicago, US

 

Apr 19 – Jul 26, 2019

CHICAGO, IL—On a summer evening in July 1610, under the humid Padua sky, Galileo peered through his crude telescope to discover Saturn, the furthest planet then known and twice as far as the moons of Jupiter (each named a er former lovers of Zeus), which he had reported in his brief treatise Sidereus Nuncius (Starry Messenger) just months prior. While Galileo set his sight on Saturn, it came into view slowly. Ancient Greek and Roman theory, and later medieval psychology, had correlated four planets with each of the elements and temporal ‘humors;’ Jupiter’s in influence prevailed in the blood and a ects a sanguine nature, Mars ruled aggression, and the moon correlated with an apathetic disposition. e fourth and final humor, inspired by ringed Saturn, was responsible for melancholy.

 


It is for this reason we have the term ‘saturnine’ to describe sadness; the sight of Saturn (its image) is historically one of sorrow. is group exhibition brings together three artists—Los Angeles-based eodora Allen, Paris-based Antoine Donzeaud, Chicago-based Assaf Evron, and Dutch conceptualist Wim van der Linden—each of whose works investigate a melancholic temperament. e exhibition is viewed through the lens of Albrecht Dürer’s 1514 engraving Melencolia I, often deemed ‘the image of images,’ to portray a tableau of melancholy within a twenty-first-century context.

 


Central to the exhibition is a newly-commissioned site-speci c installation by Antoine Donzeaud, a suspended ceiling work that will activate the domestic object of a red bed, as well as the entirety of the gallery space, under a pink hue—providing an idiomatic opposition to the theme of sadness by functioning as ‘rose colored glasses.’ Also included will be the seminal work of Wim van der Linden’s Sad Movies (1966), featuring Tulips, a short cinematic drama on the forlorn fate of a bouquet of e Netherlands national ower. Accompanying these works are paintings by eodora Allen, whose ethereal and mystic compositions, paired with an iconographic approach to guration and still-life, represent an allegorical method not unlike Dürer’s Melencolia I. Lastly, Saturnine will include work from a series of three-dimensional forms derived from the imaging of digital color space by Assaf Evron—an allusion to both the perspectival and geometric experiments of Dürer, as well as the ultimate uncanny nature of Melencolia’s enduring composition.

Wim van der Linden Tulips, 1966 Film, continuous loop NFS; loan from the Eye Filmmuseum, Amsterdam
Wim van der Linden Tulips, 1966 Film, continuous loop NFS; loan from the Eye Filmmuseum, Amsterdam
Theodora Allen Calendar, No.3, 2019 44 x 34 inches Oil on linen
Assaf Evron Untitled(C-HHM-lab) Colorspace, 2014 MDF/Epoxi, approx 20 x 20 inches (pedestal 27 x 27 inches)
Assaf Evron Untitled(C-HHM-lab) Colorspace, 2014 MDF/Epoxi, approx 20 x 20 inches (pedestal 27 x 27 inches)
Antoine Donzeaud Suspended Stories (Red), 2019 Polythene, spray paint, Flashe acrylic, archival inkjet on tracing paper
Antoine Donzeaud Suspended Stories (White), 2019 Polythene, spray paint, Flashe acrylic, archival inkjet on tracing paper
Antoine Donzeaud Suspended Stories (Purple), 2019 Polythene, spray paint, Flashe acrylic, archival inkjet on tracing paper
Antoine Donzeaud Pink Monochrome and White Monochrome, 2019 bed frame, sheets, blinds
Assaf Evron Untitled(Athens and Oraibi), 2019 Stair Stringer/Paint, 1.5 x 9 x 96.5 inches
Antoine Donzeaud, White Monochrome, 2019
Assaf Evron Untitled(Athens and Oraibi), 2019 Stair Stringer/Paint, 1.5 x 9 x 96.5 inches
Antoine Donzeaud Pink Monochrome, 2019 bed frame, sheets, blinds

Saturine
Theodora Allen, Antoine Donzeaud, Assaf Evron, and Wim van der Linden

 

Curated by Stephanie Cristello

 

At Chicago Manual of Style, Chicago, US
April 19–July 26, 2019

 

Photography by Daniel Hojnacki

 

Chicago Manual of Style

 

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