Sunday, October 29, 2017

Ana Hušman and Jusuf Hadžifejzović at Good Children; Robyn LeRoy-Evans at The Front




As a theme for an artwork, “almost nothing” sounds underwhelming, but multimedia artist Ana Hušman's Almost Nothing video (still, above), explores the definitive potential of subtlety. Part of an edgy Croatian art expo curated by Lala Raščić, it presents landscapes with (often barely) moving expanses of waves or grasses, some seen through windows of domestic interiors that look almost like crisp Air B & B temp rentals, contrasting sharply with the pristine nature views as a zoned-out voiceover describes the effects of wind speeds like a wonky disoriented meteorologist at a free verse poetry recital. Based on how land management on a Dalmatian island caused wind patterns to resemble “a complex feedback loop between interior and exterior spaces,” Hušman's video conveys an austere yet ethereal beauty imbued with a distinctive sense of place. No less prosaic, but more pop-artsy in tone, is Jusuf Hadžifejzović's Property of Emptiness series of framed, empty cigarette packs scrawled with magic marker messages. His Making Holes in the Shop of Voids wall sculpture, cobbled from cardboard packing crates incised with primary colored circles, wryly recalls the Slavic history of geometric modernism from Kazimir Malevich to Victor Vasarely. Although reminiscent of Duchamp-inspired conceptual art, his works convey a vaguely visceral tone that makes them pleasingly punchy – a description that also applies to the “exquisite corpse” graphical poster poem by Summer Acceptance in the rear gallery.
   
Segueing between hints of emptiness and fulfillment, Robyn LeRoy-Evans's fabric wall sculptures and photographs explore the sensory dynamics of early motherhood as a dream-like alternate reality. Her abstract, yet feminine, and vaguely fleshly fabric wall sculptures often appear as if in a state of suspended, dance-like animation even as their pale rose, tangerine and salmon hued folds hint at the inner mysteries of gestation. The photographs employ related fabric forms punctuated with gestural, choreographic arrangements of her legs, arms or torso in works that suggest an elegant resolution of her ongoing quest to unite her dual passions of mothering and art making. ~Bookhardt / Property of Emptiness: Works by Ana Hušman, Jusuf Hadžifejzović and Summer Acceptance, Through Nov. 5, Good Children Gallery, 4037 St. Claude Ave., 616-7427; A Growing Dance: New Multimedia Works by Robyn LeRoy-Evans, Through Nov. 5, The Front, 4100 St. Claude Ave., 920-3980.