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Wednesday, February 20, 2019

CHICAGO | ArtTable Chicago Chapter Relaunch: MeetAT Monique Meloche

Start Date: 2/20/2019 6:30 PM EST
End Date: 2/20/2019 8:30 PM EST

Venue Name: moniquemeloche

451 N Paulina Street
Chicago, IL  United States  60622

Organization Name: ArtTable

Imogen Fairbairn
Email: programs@arttable.org
Phone: 212 343 1735 Ext. 13


Members and guests


Calling all Chicago women art professionals- ArtTable is re-launching! We can’t wait to see familiar faces and meet new prospective members! Join us for a drink at Monique Meloche Gallery next week for an exclusive look at the new exhibition, to meet ArtTable Chicago's leadership and discuss local future plans!

A MeetAT is a free member-hosted event for existing and potential ArtTable members from all sectors of the art world to mingle and engage with each other in a casual atmosphere. Come solo or bring a guest to this lively gathering that encourages new friends and trusted colleagues to get to know one another better. Without a formal program, everyone is free to network and engage in conversation.


All The While I Thought You Had Received This

moniquemeloche is pleased to present All The While I Thought You Had Received This, an exhibition of new paintings and drawings by Maia Cruz Palileo. This is her first solo show with the gallery and the first in her native Chicago. Informed by her family’s Filipino heritage, Palileo investigates larger questions pertaining to identity, history, migration, and belonging. The artist’s strategy for unraveling these long and tangled threads is itself born from from an intricately woven patchwork of sources and mediums; Palileo translates these materials into a novel formal language to describe a new world of her own making.

In 2017, through the Jerome Foundation's Travel and Study Program Grant, Palileo conducted research at Chicago’s Newberry Library, which has one of the largest collections of Philippiniana in the world (comprised of the collections of Edward E. Ayer, an American who assembled a vast trove of Philippine 17th and 18th century manuscripts upon US victory over the Spanish at Manila Bay in 1898; and the photographic archive of Dean C. Worcester, an influential and controversial figure in the early years of American presence in the Philippines). These varied documents, spanning centuries and cultures, offered a kaleidoscopic vision of the Philippines as seen through numerous eyes, and recalled by multiple “natives” and “others.” Struck in particular by the exploitative gaze of Worcester’s ethnographic photographs, Palileo sought to resuscitate the figures he captured so problematically, and looked to Damia´n Domingo for inspiration. Considered the father of Philippine painting, Domingo set up the first Philippine art academy in 1821, an institution which implemented non-discriminatory practices, affirming the right to equality and respect for all who wished to study there. Domingo’s watercolors from the era confer humanity onto an array of different types and characters in and around Manila Bay, a sensibility which informed Palileo’s re-assessment of Worcester’s images:

The resultant paintings present a potent amalgamation of Palileo’s research, bridging Spanish colonialism, the Filipino-American War, and the artist’s own understanding of a fractured and complex past. Hovering between fact and fiction, her expressive, gestural paintings are dream- like reveries rendered in dusky jewel-tones. Further inspired by Philippine folkloric motifs found in revolutionary Isabelo De Los Reyes’ book El Folk-lore Filipino (1889), as well as Nick Joaqui´n’s short stories, they present an uncanny realm; a magical realist landscape where histories comingle, ghosts are confronted, and alternative paths are forged. Through Palileo’s keen alchemy, a rich new historical record takes shape, one informed by a fluid and unfixed collective memory.

“I began to draw figures, plants, landscapes, and other elements from the archive. Then, I cut out each drawing, creating a new library of cutouts: figures, plants, animals, interiors, boats, moons and mountains. The pieces were then placed in various arrangements and recorded via graphite rubbings. This process allowed for the cutouts to be combined into potentially infinite visual narratives.” The exhibition will feature a site-specific installation of these materials.

Thank you to Monique Meloche for hosting this program.

Image: Magic Fire, 2019
Oil on canvas, 52 x 50 in. (132.1 x 127 cm). Courtesy the artist and Monique Meloche Gallery, Chicago. 

ArtTable is a 501.c.3 organization. All programs are non-refundable.

Having trouble registering? Need help modifying or adding a guest to your registration?  Email programs@arttable.org for assistance

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Closed: 2/20/2019 4:00 PM

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