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Yannis Tsarouchis: Dancing in Real Life

Yannis Tsarouchis: Dancing in Real Life

YANNIS TSAROUCHIS: DANCING IN REAL LIFE

EXHIBITION GUIDE SPRING/SUMMER 2021 1 FOURTH FLOOR

HEALTH AND SAFETY AT WRIGHTWOOD 659 THIRD FLOOR The health and safety of our visitors and staff is our priority. In an effort to reduce the risk of spread of COVID-19, we have adopted the following measures based on CDC, state, and city guidelines: • Improved air filtration in the building SECOND FLOOR • Hand sanitizing stations on each floor • Thorough cleaning of high-touch surfaces throughout the day • Reduced gallery occupancy with timed entry • Required mask-wearing while in the gallery FIRST FLOOR GALLERY ENTRANCE We are counting on your cooperation to keep the gallery safe and open. OFFICES (GALLERY STAFF ONLY) In order to ensure the safety and well-being of staff and fellow guests, we ask that visitors: • Read and follow signage carefully EXHIBITION BY THEME LEGEND • Wear a mask and use the hand sanitizer provided in the gallery PROPER PLACEMENT: THE FOLLOWING ARE NOT ACCEPTABLE: Rise in the East, Set in the West RESTROOM Disquieting Muses WATER FOUNTAIN Some Butterflies and Lovely White Flowers

Olympians Dancing in Real Life ELEVATOR • Maintain a distance of at least 6 feet to other visitors or groups Dionysiac Visions • Use the stairs when possible, or limit the elevator to two people and Self COAT/BAG ROOM • Stay home if experiencing symptoms related to COVID-19

BHUTAN: A Photographic Essay CATALOG PICK-UP For further information and specific details on how we are playing it safe, COVER: . Figures for Zeimbekiko dance. 1970s, Pen on paper. © Yannis Tsarouchis Foundation visit wrightwood659.org.

1 2 Wrightwood 659 is honored to host Yannis Tsarouchis: Dancing in Real military servicemen and extracted Life, featuring one of the most beloved Greek painters of the 20th century. beauty from their coarseness. The Jointly curated by Androniki Gripari, Chair of the Yannis Tsarouchis duality of Tsarouchis’s work ties the Foundation in , and Adam Szymczyk, former Artistic Director of East to the West, the working class Documenta 14. With over 200 original pieces, this long overdue exhibition is to the bourgeois, and the common the first comprehensive survey of Tsarouchis’s work beyond Greek borders. to the divine.

Tsarouchis (1910-89) used to radically interrogate Greek We are thrilled to connect a new , substantiating his work with centuries of cultural knowledge audience to this profound and from the Greco-Roman world through the fall of the (1967-74) complicated artist. As you explore and the establishment of the . He coded tradition in the exhibition, we encourage you the new language of modernism, connecting the work of Matisse to shadow to admire Tsarouchis’s imagery puppet theater. As a leading voice from the Thirties Generation, Tsarouchis and look deeply into the allegory EXHIBITION teetered between a Western celebration of classical antiquity and the of his work. CATALOG Eastern traditions originating in the Byzantine Empire. His multifaceted Yannis Tsarouchis: Dancing work collaged narrative and style from disparate periods to define his own – Brad White in Real Life is accompanied inclusive vision of Greekness. COO, Wrightwood 659 by a comprehensive, richly illustrated volume of the Drawing from an interdisciplinary canon, he interpreted the writing of poet same name. Published by Constantine P. Cavafy, and designed the theatrical sets and costumes for Sternberg Press, Berlin, Maria Callas. The title, Dancing in Real Life reflects on Tsarouchis’s interest it will be available for in dance forms and how they connect to daily experience, including the zeimbekiko, a solo dance from Asia Minor previously performed exclusively by The exhibition Yannis Tsarouchis: Dancing in purchase at Wrightwood Real Life is organized by the Yannis Tsarouchis 659 during your visit. men, and uses this form as an entry point into his gaze upon the male body. Foundation, Athens. Support for the exhibition is Taking a considerable risk in the era that revered uniform, Tsarouchis portrayed provided by Alphawood Foundation Chicago.

3 4 PROLOGUE

Yannis Tsarouchis (1910–89) was a also, the new languages of modern would photograph, draw, and paint His quiet and firm resistance Greek painter whose multifarious art: cubism and surrealism. its dancers well into the 1980s. against conservative attitudes was practice spanned seven decades propelled by his early liberating from the 1920s to the 1980s. Thirty- His unorthodox and eclectic work Soon after returning to Athens, experience as an opera—and two years after his death, the artist negotiates and makes visible a he departed for in 1935, theater-goer while growing up in remains under-recognized outside larger difference between Western where he became acutely aware a middle-class milieu of bourgeois of , while he is unanimously European modernism and the of his position on the crossroads families in . As early as the acclaimed as one of the most originality of its reception in the between, on the one hand, the late 1920s, Tsarouchis created his important painters of the twentieth Mediterranean “East”—itself a regionalism and nationalism first actual set designs, and would century in his native country. part of the Global South. manifest in revivalist tendencies continue working in the theater This substantial exhibition aims in at the time, until the 1980s in various roles: to introduce the work of Yannis In the mid-1930s, the artist and, on the other hand, the as set and costume designer, but Tsarouchis to audiences in the US traveled to Asia Minor to see internationalist aspirations of also occasionally as the director and internationally for the first time. the newly uncovered mosaics the avant-garde. Instead of of his own stage projects. Aside of the Hagia Sophia and to choosing between the two, from these radical experiments, Tsarouchis studied art at the attend a major festival of Balkan Tsarouchis embarked on his own he worked for the theater both Athens School of Fine Arts and Mediterranean cultures in path in a groundbreaking series in Greece and abroad, making, (1928–34), voraciously absorbing . On a ship from Izmir to of male portraits and nudes among many other commissions, and transforming a variety of Istanbul, Tsarouchis witnessed a painted between 1934 and early the costumes and sets for the influences—among them Greek performance of the zeimbekiko, 1940, set in real interiors. These groundbreaking performance vernacular traditions including a dance characterized by an works constituted a pioneering, of Maria Callas as Medea at the crafts, costumes, and ornaments emotional, improvised expression radical recoding of conventional Dallas Civic Opera in 1958 and the researched and copied during of individual gestures set within gender roles and hierarchies set designs for Samuel Beckett’s field trips; Ancient Greek and Early the restrained vocabulary of highly represented in 1930s modernism plays in Paris and . Christian art; Byzantine mosaics, codified movements. The affective and went against the dominant frescoes, and icon painting; Greek power of the zeimbekiko left a traditions of heteronormative art Disappointed with the stale social shadow theater—Karagiozis; and lasting influence on Tsarouchis; he of that era. climate and mediocre critical

5 6 reception of his work in Greece, he Tsarouchis ignored artistic made up his mind to go into exile fashions of his day, keeping at a to Paris in 1967, the same year that distance from his contemporaries the Greek military Junta overtook and instead creating a world of the government, remaining in thoughts, emotions, and imagery power until 1974. In 1966, with that was unmistakably his own. a sense of premonition, he had He dodged expectations and was portrayed a Military Policeman a true postmodern artist avant Arresting Eros, an allegory of la lettre, constantly brushing up queer resistance to repression and against the grain of his time, fully conservative . aware of the fact that his work would only be appreciated in From the mid-1970s, he split his the future. time between Paris and Athens. In 1981, he created the Yannis Tsarouchis Foundation and donated to it a large number of important works spanning his entire career, as well as the house he had built in the mid- in the Athenian district of as his studio and future museum. To this day, the Foundation remains active in preserving, researching, and promoting Yannis Tsarouchis’s work.

Yannis Tsarouchis: Dancing in Real Life is organized around several recurring subjects and structural devices present in Tsarouchis’s art: theater as a machine of image production; dance as an embodiment of realness; staging IMAGE, PREVIOUS PAGE: of the Other Self in portraiture; Yannis Tsarouchis, Youth Asleep by the Sea, 1965, EXHIBITION watercolor on paper. © Yannis Tsarouchis Foundation the invention of new ; IMAGE, THIS PAGE: landscape as introspection; as well Yannis Tsarouchis, The First Copy of the Medusa of Piraeus, 1939-1940, gouache on paper. BYIMAGE: Yannis Tsarouchis, SECTION Winged Spirit Buttoning His Underpants, as difference and iteration. © Yannis Tsarouchis Foundation 1966, acrylic on paper. © Yannis Tsarouchis Foundation

7 8 RISE IN THE EAST, DISQUIETING MUSES SET IN THE WEST “a true follower of the does not maintain forms, “...where the light is silver and gold” but becomes proportionally Greek by loving boundlessly.”

Here enters the Sailor of Piraeus. home close to the sea. Tsarouchis Yannis Tsarouchis was a son of came of age in a conflicted Greek merchants born in a neoclassical state freed from the and bound to an older Byzantine heritage rooted in memories of its former capital, Constantinople—the modern city of Istanbul. While attending the Athens School of Fine Arts in the late 1920s and early 1930s, Tsarouchis took an apprenticeship with Fotis Kontoglou who trained him in the traditions of icon painting. The frontal facing portraits, shallow surfaces, and religious iconography would serve as a foundational Tsarouchis envisioned a world that modernism with Greek vernacular. reference spanning Tsarouchis’s celebrated the sensual body as He tied the grace of French career. After a trip to the Balkan a form of creative power. Brilliant cyclists to Evzonoi rebels who Festival of 1934, he diverged from muses transitioned in and out of his reclaimed Greece from an Ottoman the rigid practices of Kontoglou and practice from his tailored servicemen occupation, marking a shift in shifted his gaze to the emerging confronted with global war to the Tsarouchis’s gaze onto the athletic surrealist, cubist, and fauvist young, long haired revolutionaries male body. Akin to the artist of practices of the Western avant- of 1970s France. The abstract task classical antiquity, Tsarouchis garde. Despite their differences in of composing light, color, and form acknowledges the duality of the methodology, Tsarouchis held on onto a surface informed Tsarouchis’s athletic form, both sensual and to the metaphorical string cast by objective respect for both realist capable of destruction. Kontoglou to navigate the divided and nonrepresentational painting. worlds of Greek identity. After meeting Henri Matisse and QUOTE: Y. Tsarouchis. E. D. Matthiopoulos, “Observations with modest audacity on the life and during his 1935 work of Yannis Tsarouchis” QUOTE: Y. Tsarouchis. Yannis Tsarouchis Foundation trip to Paris and subsequent tour of IMAGE: Yannis Tsarouchis, Youth Wearing Pyjamas Posing IMAGE: Yannis Tsarouchis, Sailor in the Sun, as a Statue from Olympia, 1938-39, pigments with animal 1968-1970, oil on canvas. © Yannis Tsarouchis Foundation , Tsarouchis linked Western glue on canvas. © Yannis Tsarouchis Foundation

9 10 9 C.P. CAVAF Y SOME BUTTERFLIES AND LOVELY WHITE FLOWERS LOVELY WHITE FLOWERS “Whether I paint men or flowers, He went inside the café where they used to go together. I must reveal the divine spirit that lies within them.” It was here, three months ago, that his friend had told him: “We’re completely broke—the two of us so poor The Metamorphoses that we’re down to sitting in the cheapest places. of Apuleius (2nd c. I have to tell you straight out— AD). This ancient tale I can’t go around with you any more. follows two lovers who I want you to know, somebody else is after me.” meet under the cover The “somebody else” had promised him two suits, of darkness to obscure some silk handkerchiefs. To get his friend back, their identity, one a he himself went through hell rounding up twenty pounds. mortal, the other a His friend came back to him for the twenty pounds— god. The unwavering but along with that, for their old intimacy, dedication of the their old love, for the deep feeling between them. beautiful Psyche leads The “somebody else” was a liar, a real bum: her to suicide. On the he’d ordered only one suit for his friend, brink of death, Eros and that under , after much begging. saves Psyche and But now he doesn’t want the suits any longer, grants her immortal he doesn’t want the silk handkerchiefs at all, life transforming her or twenty pounds, or twenty piasters even. into a god. As an Sunday they buried him, at ten in the morning. artist and a scholar, Sunday they buried him, almost a week ago. Tsarouchis benefits He laid flowers on his cheap coffin, Tsarouchis, an experienced from the ability to aesthetically lovely white flowers, very much in keeping costume designer, altered his mobilize layers of historical with his beauty, his twenty-two years. models by mounting winged narrative ranging from modern When he went to the café that evening— creations onto their backs. The poetry to accent oral histories— he happened to have some vital business there—the same café muscular forms of these young captured through artifacts and where they used to go together: it was a knife in his heart, men are softened by the curved Greco-Roman Theater. that dingy café where they used to go together. shapes emerging from their bodies. Both butterfly and feathered wings QUOTE: Y. Tsarouchis. A. Schina, “Flowers and Foliage signify a connection with the in the of Yannis Tsarouchis.” Republished with permission of Princeton University Press from C.P. Cavafy: Collected Poems, Revised Edition, trans. Edmund Keeley and Philip Sherrard, ed. George Savidis (Princeton, NJ: Princeton University Press), p. 166. Translation deities of Greek antiquity Eros and IMAGE: Yannis Tsarouchis, Two Men with Butterfly Wings copyright © 1992 Edmund Keeley and Philip Sherrard; permission conveyed through Copyright Clearance Center, Inc. and Black Shoes, 1965, oil on plywood, oil on veneer. © For reuse of these translations, please contact Princeton University Press. Psyche, famously intertwined in Yannis Tsarouchis Foundation

11 12 OLYMPIANS DANCING GEORGE SEFERIS IN REAL LIFE ACTORS, MIDDLE EAST “I always saw these dances as sacred rites and I try to convey their exalted character with reverence.” We put up theatres and tear them down wherever we happen to find ourselves and intimate dance. Tsarouchis we put up theatres and set the stage belonged to a period in Greece but our fate always triumphs in the end called the Generation of the and sweeps them away as it sweeps us too Thirties, a group of poets, artist, actors and actors’ manager and intellectuals defined loosely prompter and musicians all disappear by their coming of age during the scattered to the five hungry winds. Asia Minor Disaster of 1922 and Bodies, mats, wood, make-up the subsequent refugee crisis rhymes, feelings, veils, jewellery which followed. masks, sunsets, wails and howls exclamations and suns rising From the zeimbekiko and tsamiko cast off helter-skelter along with us dances, to the urban music, they drew upon popular (where are we going? where are you going?) culture of the Greek working class. nerves naked upon our skin The young, Greek avant-garde met like the stripes of an onager or zebra in cafes and redefined a modern exposed and naked, dry and burning Hellenism, blurring the boundaries (when were we born? when buried/) On a return trip from Izmir in 1934, of migration, class, and gender and taut like the strings of a lyre a group of Zeybeks, dressed in old though none more acutely than incessantly humming. Look also costumes, boarded Tsarouchis’s Tsarouchis. He neither rejected at our heart: a sponge ship. He watched in awe as the or fully embraced Western ambling through the street and market-place young men preformed strong abstraction or a dogma of ancient soaking up the blood and bile improvisational choreography art but mediated a space between of both the tetrarch and the thief. which transfigured their bodies the absolutes of his era. into divine and humble warriors. Middle East, August ’43 Tsarouchis’s long and sincere connection to zeimbekiko dance QUOTE: Y. Tsarouchis. E. D. Matthiopoulos, “Observations with modest audacity on the life and would emerge in future works work of Yannis Tsarouchis” Originally published in Logbook II (1945). Republished with permission of Princeton University Press from George Seferis: as he captured the desires of IMAGE: Yannis Tsarouchis, Zeimbekiko Dance with Night Collected Poems, Revised Edition, trans. Edmund Keeley and Philip Sherrard (Princeton, NJ: Princeton University Press, Blossoming Jasmine and Calla Lilies, 1978, gouache on 1995), p. 266. Copyright © 1995 Princeton University Press; permission conveyed through Copyright Clearance Center, Inc. men preforming the serene paper. © Yannis Tsarouchis Foundation For reuse of these translations, please contact Princeton University Press.

13 14 DIONYSIAC VISIONS ALLEGORY AND SELF “...a man who has lived the drama of modern art “I am preparing the scenery of my life.” with all the power of his soul.”

of Eva Palmer- Like a message written Sikelianos, a in a bottle and cast into co-revivalist of the the endless sea of time, Delphic festival, he Tsarouchis used painting as discovered open a vessel for intergenerational air theater and later communication. He believed took this approach the work of an artist writes a step further in their truest tale, and by 1977 by moving his observing the material and production of The aesthetic references of a Trojan Woman into work, the personal and Tsarouchis identified theater as a vacant Athenian parking lot. societal views can be visual acts of poetry, like a dream understood. Nevertheless, rehearsed in real life. From Maurice Throughout his acclaimed career, there is no use in an unread his early “Poems” (1934-1937) in Maeterlinck’s Princess Maléne Tsarouchis worked with theaters message. Despite his growing 1980. In 1981 he established the to Orestes by Euripides, his across Europe and, among others, national and international acclaim, Yannis Tsarouchis Foundation in passion for theatrical production designed the sets and costumes Tsarouchis only received one his Marousi home, self-built as provided a foundation for his for Medea at the Dallas Civic retrospective exhibition in a Greek a variation on typical Athenian career and punctuated his life. The Opera featuring Maria Callas, in museum toward the end of his life. neoclassical houses, to preserve interdisciplinary dialogue between 1958. Fascinated with the work of the contextual atmosphere of his paintings, costumes, and set Euripides, a decadent intellectual Suspicious of the dominant art his studio. With these measures, designs profoundly influenced and one of the three ancient Greek historical views of his period, Tsarouchis hoped to connect to the his experimentation of spatial tragedians Tsarouchis translated Tsarouchis took steps to care for future debates around his work— composition. After Sotiris Spatharis, many of his works into modern the future of his heritage towards and mitigate the risk of his oeuvre master of shadow theater, Greek. His theatrical interpretations the end of his career, ensuring falling into historical oblivion. commissioned by Tsarouchis a radically reframed the ancient social the significance of his work would life-sized painting of red curtains commentary. transcend his own life. He placed framing a landscape, he used himself in dialog with masters QUOTE: Y. Tsarouchis. E. D. Matthiopoulos, this work as a prop to frame his QUOTE: Y. Tsarouchis. Yannis Tsarouchis Foundation ranging from Titian to Vermeer, “Observations with modest audacity on the life and work of Yannis Tsarouchis” subjects, artificially flattening the IMAGE: Yannis Tsarouchis, Set Design for As You Like It by embedding himself between the William Shakespeare, 1937, watercolor on paper. © Yannis IMAGE: Yannis Tsarouchis, Copying Titian, 1971, oil on space. Through the acquaintance Tsarouchis Foundation present and the past. He published canvas. © Yannis Tsarouchis Foundation

15 16 TIMELINE

LIFE HISTORY LIFE HISTORY Born in Piraeus. 1910 1933 The 4th CIAM (International Congress of Modern Architecture) in Athens. 1913 King George I assassinated in Thessaloniki. The Balkan Wars end Produces drawings and paintings 1934 Many regions were incorporated in the inspired by his exposure to avant garde which doubled its art and writes surrealist poems that will size and population. remain unpublished until 1980. He will return to an experimental Ballet libretto 1914 Start of World War I. he wrote in that period only in 1971, in a series of drawings of set and costume 1922 Asia Minor Catastrophe. Over one designs for Ballet A and Ballet B. million refugees arrive in Greece, bringing radical change. The is abolished the following year. Visits Paris for the first time to explore the 1935 Failed military coup and restoration work of modernist European artists and of the monarchy in Greece. Meets the choreographer, 1926 meets Matisse. Eva Palmer-Sikelianos. Paints the series Cyclists, inspired by 1936 under cycling events in France. Back in Greece, with the support of King George II. Meets Sotiris Spatharis, master of 1927 First Delphic Festival organized he connects the colors used by Spatharis shadow puppet theater. by Eva Palmer-Sikelianos and poet and Dedousaros in Karagiozis posters, Angelos Sikelianos ushers in a revival to Matisse. of classical theater. Expands his interest in theater designing 1937 Studies at the Athens School of Fine Arts 1928 sets and costumes with the Kotopouli and begins his first professional work theater company. for the theatre: Maurice Maeterlinck’s Princess Maleine, directed by Fotos First solo exhibition in Athens includes 1938 Politis for the Drama School of the early paintings and work from his National Theatre. stage designs. Studies Byzantine painting while 1930 After copying the Head of Medusa from 1939 Start of World War II. assisting Fotis Kontoglou. the Archeological Museum of Piraeus, he starts to paint from life. Learns to weave on the loom from Eva 1931 Drafted into WWII on the Albanian front. 1940 Greece enters World War II. Palmer-Sikelianos, learns Byzantine He continues to paint. musical notation and copies Fayum Portraits. 1941 occupies Greece. Studies under Constantinos Parthenis 1932 Paints The Arrest of Three Communists 1944 Liberation of Athens and beginning of at Athens School of Fine Arts. during the first days of the the bloody Dekemvriana (December conflict. Conflict) in Athens.

17 18 LIFE HISTORY LIFE HISTORY 1946 Start of the . His French translation of Euripides’ The 1969 George Seferis publicly condemns Bacchae is performed at the Avignon the dictatorship. Co-founds the Armos group with painters 1949 End of the Greek Civil War. Festival, directed by Jean - Louis Thamin. from the Thirties Generation with Nikos Hadjikyriakos-Ghika, Yannis Moralis, 1971 Death of George Seferis turns into a , . demonstration against the dictatorship. After solo exhibitions in Paris and 1951 , he begins to receive Frequently returns to Greece after the 1974 Fall of the Junta. international acclaim. fall of the Junta. The following year he produces a large body of work on the zeimbekiko dance. The Il Gabbiano In an exhibition with the Armos group, 1952 gallery organizes his solo exhibition his work Seated Sailor and Reclining in . Nude offends the Greek military and is removed. Mounts a production of The Trojan 1977 Women by Euripides, translated, One of three Greek artists nominated 1957 directed, and designed by himself in for the Guggenheim Prize. an Athens parking lot. Moves back to Greece. He participates in the Venice Biennale 1958 Police measures are enacted against and designs the sets and costumes for the Greek ‘Teddy Boys’ for provocative Establishes the Yannis Tsarouchis 1981 Luigi Cherubini’s Medea at the Dallas and offensive behavior. Foundation and donates his house in Civic Opera, Texas, Directed by Alexis Marousi along with many of his works. Minotis. The play features Maria Callas His foundation hosts its first exhibition and they become friends. He shifts his the following year. He exhibits at the focus to theater production. Archeological Museum of Thessaloniki, the only major survey of his work in a Collaborates with Theatro Technis 1959 Greek museum during his lifetime. and designs the sets and costumes for Aristophanes’ The Birds performed Exhibition of his works titled Zeimbekika at the Herod Atticus Theatre in Athens. at the Zoumboulakis Galleries. He The production provokes strong mounts, directs, translates, and designs protests. The remaining performances sets and costumes for Seven against are canceled. Thebes by Aeschylus, in Thebes, in a field specially transformed for the Starts painting again. Solo exhibition 1961 performance. at Zoumboulakis Galleries. Continues to paint despite being 1984 The Birds is performed at the Sarah 1962 afflicted with Parkinson’s disease. Bernhard Theatre in Paris. It is awarded a He moves back to Greece. prize by the Theatre of Nations Festival. The first four collections of Tsarouchis’s 1986 texts are published by Kastaniotis 1963 First Pacifist Rally from Marathon to Editions. Athens is banned by the police. A leftwing MP is the Dies in Athens. 1989 only participant marching all the way. He is assassinated by far-right extremists in Thessaloniki after delivering a speech at a rally against later that year. His funeral turns into mass IMAGE, PREVIOUS PAGE: Yannis Tsarouchis, Dancing demonstration against the rightwing in Real Life and in Theatre, 1963-1968, oil on canvas. government. © Yannis Tsarouchis Foundation TIMELINE: is based on/is an edited version of the In self-exile, Tsarouchis moves to Paris 1967 Military coup—many Greek artists and timeline included in the Yannis Tsarouchis 1910–1989, with all his work. writers self-exile to retain intellectual exh. cat., Benaki Museum, ed. Niki Gripari, Marina freedom. Often called the . Geroulanou, and Sakellaropoulos (Athens, 2009), pp. 378–404.

19 20 COMING THIS FALL

ROMANTICISM TO RUIN: BHUTAN TWO LOST WORKS OF A PHOTOGRAPHIC ESSAY SULLIVAN AND WRIGHT In the years spanning 1988 At Wrightwood 659, the book RECONSTRUCTING REIMAGINING to 2002, computer scientist is displayed along a concrete THE GARRICK: THE LARKIN: and former MIT professor wall on the fourth floor. Folded, ADLER & SULLIVAN’S FRANK LLOYD WRIGHT’S LOST MASTERPIECE MODERN ICON Michael Hawley led a team of it measures 5 x 7 feet but, at CURATED BY JOHN VINCI WITH CURATED BY photographers, publishers, and the gallery, displayed in its full TIM SAMUELSON AND CHRIS WARE JONATHAN D. KATZ students through the Himalayan unfolded length, visitors can kingdom of Bhutan to document walk along its span of 155 linear daily life. The four expeditions feet and see for themselves OPENING AT WRIGHTWOOD 659 they took resulted in an archive not only the visual but also the of photographs of the country’s physical extent of the project. SEPTEMBER 23, 2021 people, landscapes, and cultural The pages, with their super- SIGN UP FOR UPDATES AT: practices which the non-profit saturated colors and life-sized Friendly Planet later published portraits, vibrantly represent Wrightwood659.org in a large book entitled Bhutan: the people and geography

A Visual Odyssey Across the Last of Bhutan. Financial support for Romanticism in Ruin: Two Lost Works of Sullivan and Wright Himalayan Kingdom. is provided by Alphawood Foundation Chicago.

21 22 We have reduced gallery Wrightwood 659’s Educators hours for this exhibition are located throughout in order to provide the highest the building to answer your quality gallery experience: questions. Their backgrounds in art, architecture, and social Installation view of Balkrishna Doshi, Architecture for the People at Wrightwood 659. 2020. THROUGH JULY 31, 2021 movements provide unique insights Last entry is one hour before closing into Wrightwood 659’s exhibitions and gallery space. Educators Use of public transportation is n Smoking is not permitted. encouraged. The closest bus n Carry bags on your front or side. THURSDAY (June only) & FRIDAY are available to answer your Open: 12:00pm - 2:00pm questions about this exhibition or stops are at Halsted & Wrightwood n Check all personal items that Closed: 2:00pm - 3:00pm Wrightwood 659. Please let us know (#8 bus) and Clark & Deming (#22 are larger than 12 x 12 inches. Open: 3:00pm - 5:00pm how we can help you. & #36 buses) and the closest CTA Complimentary bag and coat Closed: 5:00pm - 5:30pm station is at Fullerton & Sheffield check is available on the first floor. Open: 5:30pm - 7:30pm Admission to Wrightwood (Brown, Purple, and Red lines). n Talking on the phone is limited to 659 is only available during non-gallery spaces throughout SATURDAY the public showing of exhibitions. There is no public parking the building. Open: 10:00am - 12:00pm Reservations are required and are facility at Wrightwood 659, n Strollers are not permitted in the Closed: 12:00pm - 1:00pm available at wrightwood659.org. and on-street parking is difficult. galleries but may be parked in Open: 1:00pm - 3:00pm If you must drive, there is paid the coat check room. Closed: 3:00pm - 3:30pm Wrightwood 659 is parking located at the Ann & Open: 3:30pm - 5:30pm committed to providing Robert H. Lurie Children’s Hospital Wrightwood 659 reserves the right inclusive experiences for all of Chicago Outpatient Center, to not allow any bag, parcel, or other Each block is limited to 24 guests. audiences. Please call 773.437.6601 2515 N. Clark Street. item to be brought into the building, Tickets are available for $15 at or email [email protected] and to deal with unattended for access services. Service animals tickets.wrightwood659.org/events. Please help us protect the artworks objects in such a way as we consider All visitors must provide a ticket for specially trained to assist a person by respecting the following: appropriate. Wrightwood 659 also entry. Visitors should plan to appear with a disability are welcome at reserves the right to deny admission n Children of all ages are welcome, at the time noted on the ticket Wrightwood 659. to or remove any person wearing for admission to the gallery. No however, those under 16 years attire that we consider inappropriate refunds can be given to guests who Enjoy FREE wireless Internet of age must be accompanied by or that could detract from the do not arrive at the appointed time. access at Wrightwood 659. an adult. experience of other visitors. No walk-ups can be admitted. Look for “Wrightwood 659 Guest” n Do not touch the art. in your settings on your Wi-Fi- n Do not eat or drink in the enabled device. galleries.

23 24 YANNIS TSAROUCHIS: DANCING IN REAL LIFE Wrightwood 659’s presentation of Yannis Tsarouchis: Dancing in Real Life is made possible by support from Alphawood Exhibitions.

Alphawood Foundation Registrar James D. McDonough Angela Steinmetz Executive Director JWSC LLC Bradford White Associate Director Graphic Design Melissa Terrell Michael Garzel ABOUT WRIGHTWOOD 659 Office and Grants Manager Graphic Design + Photography

Wrightwood 659 Media and Public Relations Wrightwood 659 is a new In a city rich with art institutions Bradford White MARKETING AND COMMUNICATIONS: Interim Chief Operating Officer exhibition space conceived for and internationally known for Samir Bitar Devin Gora The Art of Consulting Building Operations Coordinator the presentation of exhibitions its architecture, Wrightwood Yaumu Huang LOCAL PRESS RELATIONS: of architecture and of socially 659 is designed as a site for Manager, Exhibition Planning & Design Beth Silverman, Louise Yingduo Liu Dan Hutchins The Silverman Group, Inc. engaged art. It is designed contemplative experiences of art Building Operations Manager NATIONAL AND INTERNATIONAL PRESS: by Pritzker Prize-winning and architecture, and as a place Ashley Janke Program & Education Coordinator Betsy Ennis, Lucy O’Brien architect Tadao Ando, who has to engage with the pressing Ennis O’Brien LLC Justin Latta transformed a 1920s building social issues of our time. Located Chief Technology Officer Andy Lopez Special Thanks to the Following with his signature concrete in Chicago’s Lincoln Park Building Operations Custodial Supervisor Benaki Museum forms and poetic treatment of neighborhood, it is a private, Cecília Resende Santos The National Gallery – Guest Services Coordinator Alexandros Soutsos Museum natural light. non-commercial initiative Curatorial Jan Kallish – Consultant envisioned as an integral part Move Art Adam Szymczyk of the cultural and civic fabric of Androniki Gripari Steve Rososky — Video Production Stay up-to-date on new Harriet Stratis — Art Conservation Chicago, as well as a new kind of Yannis Tsarouchis Foundation website content and upcoming Michael Tropea Photography arts space and cultural resource. Violetta Koronaiou exhibitions. Subscribe at Lili Pezanou — Exhibition Design US Art, Chicago Vasso Tzouti Jeff Stafford & Crew wrightwood659.org

25 26 Wrightwood 659 was established, in part, to provide a site for exhibitions devoted to architecture, itself a civic practice, and to the art that grapples with the pressing issues of our day.

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