Justin Chance (1993/m/USA)
justinbchance@gmail.com
Studio*
Recent
Quilts
Sculpture
Video
Writing*
Exhibitions*
Solo
Archive (2024)
Love is Sci-Fi (2023)
Live (2023)
Station (2021)
Low-Life (2021)
Long Distance (2018)
Two Person
Winter (with Sylvie Hayes-Wallace)(2023)
Hangout (with the People of New York) (2022)
Social (with David Sprecher) (2022)
On Grist and Sunstroke (with Kim Farkas) (2022)
Better (with Hunter Foster) (2021)
CV*
Recent
Archive, Naranjo 141, Mexico City, MX
March 16 - April 19, 2024
In the Weeds: Interview with Veronika IvanovaRadio Vilnius, January 2024
Love is Sci Fi, Sydney, Sydney AU
November 24 - January 20, 2024
A group exhibition co-curated with Amina Ross
Carris Adams, Cream Co., Bethany Collins, Angela Davis Fegan, Sabrina Granados, Terrell Davis, Deana Lawson, Kelly Lloyd, Shala Miller, Liz Mputu
January 26th – March 16th 2018
Arts Incubator part of Arts & Public Life | Chicago IL
For more information on the exhibition as well as the ECLIPSING festival, visit: eclipsing.info
Pictured left to right: Carris Adams, Shala Miller (installation behind curtain), Deana Lawson, Sabrina Granados (on floor), Bethany Collins, Deana Lawson
Deana Lawson
Bethany Collins
Bethany Collins
Deana Lawson
Pictured left to right: Carris Adams, Shala Miller, Deana Lawson
On monitor: Liz Mputu, mural by Kelly Lloyd
Pictured left to right: Terrell Davis, Kelly Lloyd, Liz Mputu
Pictured left to right: Cream Co., Terrell Davis, Kelly Lloyd
(mural)
Pictured left to right: Cream Co., Terrell Davis, Kelly Lloyd
Cream Co.,
Cream Co., Kelly Lloyd (mural)
*More images available upon request
*All installation images courtesy of Sarah Poole
Press Release
On view at the Arts Incubator Gallery, the exhibition is a program of the ECLIPSING FESTIVAL that converges around the first lunar eclipse of January, 2018. Challenging assumptions of darkness, Eclipsing: the politics of night, the politics of light is a group exhibition that implicates the eclipse as a metaphor in order to explore conversations of power, landscape, language, space and visibility. The exhibition is a series of propositions organized and exhibited together in order to threaten, suspend, reshape and revision expectations and associations between light and dark.
From the newspaper front page (Bethany Collins, “The Birmingham News, 1963”) to the sidebar digital ad (Terrell Davis, “Untitled”) and from the hole in the couch (Deana Lawson, “Portal”) to a puddle in the ground (Shala Miller, “The Song the Seed Sings”), the works featured in this exhibition argue for, demand, suggest and encourage an interpretation of the world at large, beyond the binary of light and dark