ARTnews<\/em>\u00a0that new management has only led to further improvements. The fair has a fresh layout and its special sections\u2014Exposure, In\/Situ, and Profile\u2014have been better integrated into the main exhibition.<\/p>\nSome 170 galleries have gathered for this year, including first-time participants Labor (Mexico) and Hannah Traore Gallery (New York), along with blue chip enterprises from beyond the Windy City, like Galeria Nara Roesler and Vielmetter Los Angeles. Chicago, of course, is well represented by homegrown operations such as Document, Rhona Hoffman Gallery, and Corbett vs. Dempsey. Among the notable returning enterprises are Perrotin, Mariane Ibrahim, Michael Rosenfeld Gallery, and Harper\u2019s.<\/p>\n
Below, a look at the best on offer during the 2024 edition of Expo Chicago, which runs through Sunday.<\/p>\n
(…)<\/p>\n
Voluspa Jarpa at NOME Gallery<\/h2>\n
One of the best sections of Expo is Exposure, a series of solo and two-artist presentations represented by young galleries curated by the Walker Art Center\u2019s Rosario G\u00fciraldes. And one of the most memorable participants of Exposure is NOME Gallery, which gathered an incisive selection of works by painter, sculptor, and installation artist Voluspa Jarpa. She\u2019s no emerging talent, having represented Chile at the 2019 Venice Biennale and participated in the Shanghai Biennale (2018) and the S\u00e3o Paulo Bienal (2014), but Expo should make her a more familiar name Stateside.<\/p>\n
Jarpa deals in hegemonic history\u2014a repressive tool of secret police and world leaders that\u2019s easy to spot, but laborious to undo. Faced with a foe like false memory, she brandishes proof of the past: government records, state symbols, eyewitness accounts, anthropological studies. At the entrance to Expo hangs a ceiling-scraping installation, titled\u00a0Declassified\u00a0<\/em>(2021) and part of the In\/Situ section curated by Amara Antilla. The work is from her \u201cMinimal Secrets\u201d series, which focuses on eras of misinformation, such as the Pinochet regime and the Cold War. Inside NOME\u2019s booth, reels of redacted records are elegantly draped against the wall, though the subject matter is grotesque\u2014human zoos, a phenomena prominent in cities during the 19th and 20th centuries. This installation shares space with a series of delicate drawings based on first-hand accounts of Indigenous life in America before colonization. The communities are depicted at leisure in the everyday, and it is a sad and disquieting sight. The viewer knows what horror is coming to stay.<\/p>\n <\/p>\n
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