Pia Singh

Pia Singh is an independent curator and arts writer based in Chicago, IL. Born in Bombay, India, she is interested in the intersection between community-engaged practices and design thinking, focussing on the ways artists challenge disciplinary hierarchies. Pia founded by & for, a solidarity economy platform for cultural workers and artists, and has served as an arts organizer, gallery, and nonprofit director.

Born in Detroit and raised in Columbus, Ohio during the Jim Crow era, Ming Smith received a multi-institutional homecoming consisting of three exhibits at the Columbus Museum of Art, the Wexner Center for the Arts, and the Gund at Kenyon College. Wind Chime at the Wexner Center features nearly thirty black-and-white images from Smith’s “Africa” series

Ming Smith, Masque (Cairo, Egypt), 1992. Archival pigment print, 24 × 16 inches. Courtesy Ming Smith Studio.

In her first solo museum exhibition in Chicago, vanessa german invites viewers to attune to a heart-forward consciousness, to receive her intent to heal historic and communal traumas. Featuring a new body of semi-precious stone sculptures paired with fragments from a class german co-led with Zachary Cahill as part of her fellowship at the Richard and Mary L. Gray Center for Arts and Inquiry, the exhibition questions the role of care and creativity in navigating institutional and ideological Eurocentricity.

Installation view: vanessa german's Gray Center Fellowship Exhibition, 2024, Reva & David Logan Center for the Arts. Courtesy the artist / Kasmin, New York; Logan Center Exhibitions; and the Richard and Mary L. Gray Center for Arts and Inquiry at the University of Chicago. Photo: Robert Chase Heishman and Robert Salazar.
Coinciding with a palpable sense of pandemic-ridden, pre-election social and political burnout, Paul Chan’s Breathers at Contemporary Art Museum (CAM) St. Louis dissuades viewers from bearing amnesic witness to regularized flows of live-streamed, catastrophic events.
Installation view: Paul Chan: Breathers, Contemporary Art Museum, 2024. Photo: Dusty Kessler.
Maryam Taghavi’s installations, paintings, and institutional interventions appear meditative, tranquil on jewel-toned surfaces, yet they are charged with a consciousness that embraces the impossibility of fully understanding the mysteries between spiritual and ordinary worlds.
Installation view: Chicago Works: Maryam Taghavi, MCA Chicago, 2023–24. Photo: Shelby Ragsdale, © MCA Chicago.
The fifth iteration of the Chicago Architecture Biennial (CAB 5) performs similar acts of composition, bringing together uncertain, irresolute global futures by eighty-six thinkers spanning ten countries, curated by the city’s homegrown collective, Floating Museum.
Joel Kuennen’s Planets Are Slow Animals at Chicago Manual Style ingeniously incorporates the art of long-looking with engagement of an ever-present future as it evidences itself through geologic time in a numinous net cast in the experimental garage gallery in Chicago’s West Town neighborhood.
Installation View: Joel Kuennen: Planets Are Slow Animals, curated by Stephanie Cristello, Chicago Manual Style, Chicago, 2023. Courtesy Chicago Manual Style. Photo: Bob.
Contradictory to the artist’s soft-spoken nature, T. Venkanna’s fluency in questioning the profoundest moments of life—death, lust, and a forthcoming series on birth—make art history Venkanna’s primary vocabulary. By transforming us into witnesses who must look again and again until the brutality of this world, as frightening as it is, becomes inadmissibly real, Looking for Peace is an exorcism of evil disguised in the discourse of development.
T. Venkanna, Shit, 2017. Ink on rice paper affixed on board,  48 x 72 inches. Image courtesy Gallery Maskara, Mumbai.

Close

Home