Nimby Zine

44

description

A zine created to showcase a variety of talented Chicago artists that activated a backyard in an exploration of public space, community experiences and urban ecology.

Transcript of Nimby Zine

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hello there,

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here’s what’s inside...

Welcome to our Backyard

Artist Images

Artist Writings

Artist Bios

Upcoming events/exhibitions/talks

Credit list to all involved & special thanks

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A somewhat rectangular, bright green patch neatly fenced in. A luxury of space that is realistically only used a third of the year (for some really great BBQs, to be fair). Taken for granted like many other lawns in the area, its primary function is to give the house a little bit of room from the neighbors. To create the illusion of pri-vacy. These are cultural norms we have created for "lawns” and "yards,” regulated by codes that firmly attempt to direct popular opinion on how public and private space needs to be allocated and whom it should serve.

These fenced spaces are occupied to prevent public use.

NIMBY invites Chicago artists to activate our backyard in an explo-ration of public space, community experiences and urban ecology. Created in the Chicagoan tradition of alternative cultural spaces, more specifically the domestic like 6018 North and the Franklin, NIMBY is open as a platform. It is meant to be playful, organic and open to the elements. Some works are ephemeral while others might endure. We don’t necessarily know where it might go… so stop by when the NIMBY banner is hanging (rain or shine).

– Margot Mache

W E L C O M E T O O U R B A C K Y A R D !

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Margot Machemargotmache.com

Born in Chicago yet raised in the sprawl of suburbia, Margot has a longstanding interest in public space and community engagement. After studying Art History at Boston University – with a particular focus on architecture – she worked for a bout as a research fellow in the Catskills. Since returning to Chicago she has fulfilled different project capacities for the Association of Architecture Organizations and is the current Director of Mongerson Gallery where she has had the opportunity to develop exhibitions on 19th & 20th century American art. Interested in providing alternative artistic platforms (with much respect to other independent spaces in the city) she is the founder and curator of NIMBY.

F O U N D E R & C U R A T O R O F N I M B Y

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A R T I S TI M A G E S

Jim Duignan

Liz Ensz

Linda Tegg

Andrew Yang

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Jim Duignan

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Liz Ensz

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Linda Tegg

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Linda Tegg

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Andrew Yang

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A R T I S TW R I T I N G S

Jim Duignan

Liz Ensz

Linda Tegg

Zsofi Valyi-Nagy

Andrew Yang

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Jim Duignan

The see saw is a symbol of cooperation. This was an ancient vehicle to work out and to imme-diately establish principles and conditions for our lives alongside someone else. It was and remains a time machine, reminding us of when we could be mindful and present, when play was central to our lives.

See Saw

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In my youth, I spent many weekends with my 17-year elder

brother Mark. He was a metal scrapper, creative genius of repair, and

my absolute hero. In his roaring white truck we would cruise the alleys of

Minneapolis and its northern suburbs and collect metal to cash in at the

metal recycling center, North Star Steel. Witnessing this practice was key

to my development as an artist, my understanding of material econom-

ics, and the value of public spaces and of the objects that occupy them.

My brother taught me that any object outside of a fence is begging to

be reclaimed and reactivated through a new relationship with a human

being, and that value isn’t a fixed condition, but entirely slippery relative

to location, quality, quantity, and most importantly – who’s judging.

The vernacular of objects in public spaces has shifted drastical-

ly since industrialization, and again after WWII, in both scope and sheer

abundance. 19th Century urban street trash primarily consisted of organic

matter – coal ashes, bones and a few food scraps, dead animals and

manure, and small amounts of other materials such as rope and metal.

In most cases, there were self-organized local economies that communi-

ties depended on for collection and reuse around each of the materials.

Scraps of a variety of materials were sorted and saved for trade or given

to a poorer family to use.

The Value of Marginal Space

Liz Ensz

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The institution of systems of mass-production, mass-consumption,

and mass-disposal led to a decrease in individuals with skills of material

processing and hand-production of objects, and by extension, a loss of

the once common knowledge of repair. A person like my brother could

see value in an object that can no longer perform its original function.

His knowledge of materials and how to manipulate them allowed him

to see their value and gave him the ability to imagine the object or its

component parts performing another function with some repair or re-

configuration. The possibility of repair or reuse has been designed out of

many objects, and this shift toward designed disposability means that

our relationships with objects is shorter than ever, just a brief diversion

on their journey from the factory to the landfill, although this momentary

engagement is the only acknowledgement of them.

The common name for objects with no ownership in public space

is "trash,” which primarily includes objects that are lost or displaced, in

need of repair or otherwise unwanted. The most common objects with

short lifespans are single-use containers, the sheer abundance and ba-

nality of them defies ownership or accountability of them after our brief

encounter with them. Unwanted items and refuse are often the decor of

public spaces, or private spaces that are not visibly claimed, occupied,

or given enforced borders. Curiously, in a city, this often means that the

public life we share with each other is set against a backdrop of this unde-

signed or uncontrollable phenomenon of marginal objects.

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Trash (marginal objects) and acts of entropy are often visible in

areas of the urban ecosystem where openings have been created through

demolition, blight, abandonment, or simply a lack of specific designed

purpose or enforced ownership. An empty lot or oddly shaped concrete

embankment can turn into a dumping ground or a playground, a commu-

nity garden or a fenced emptiness depending on the will of those engag-

ing with the space. Alleys are an interesting site of debatable territory,

both a no-man’s-land and an every-man’s-land. They are dynamic multi-

use marginal public spaces that can serve as a site for marginal activity,

but also for play, a leisurely stroll, material disposal and collection and

other underground economies. Alleys are liminal sites of value transitions

and transformations- where objects become trash.

These marginal spaces and objects are highly dynamic due to a

variety of human and non-human factors at play at all times. Elemental

forces of nature are actants on all materials, altering and degrading them-

this includes, sun, rain, wind, freeze-thaw cycles, animal activity, sedi-

mentation, and seeds of new growth. In addition to the elements, users

actively and passively stir the objects in the spaces by harvesting and

depositing matter, and by freely changing the rules of engagement and

culture of the site based on their presence or absence.

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Sites of undesigned public space and undeveloped or unkept

private space are also dynamic because the nature of the unvalued is

that of infinite potential. These marginal spaces and their often marginal

activity tend to exist unregulated or under a self-defined micro-culture

of parameters determined by the users (which I find thrilling and import-

ant). In this sense, marginal spaces function as sites of absolute anarchic

freedom. I see this ever-changing microcosmic self-organized activity, and

negotiation of unregulated material economies as the most undervalued

part about them.

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I’ve lost faith in fundamental processes. My news feed, perpetually

populated by new scientific studies, destabilises my comprehension of the

way things go. Fragmentary information doesn’t accumulate into under-

standing, but distrust in how we know.

Misconceptions abound and corrections are forthcoming. Oc-

casionally I’ll string a couple of articles together and test the ideas for

myself. It’s an embarrassing process as it exposes gaps in my awareness,

illuminating processes, often in my own body, that I haven’t quite grasped.

When we burn fat, we exhale the mass into the atmosphere as

carbon dioxide and water.¹ Abstractly, I understand that this breath will

manifest in the bodies of plants. I am curious to make this perceptible, so

I grow wheat-berries from the supermarket (the seeds most convenient

to me) into three terrariums. One hermetically sealed off from the exterior

world. Another open to our shared atmosphere. The third in an environ-

ment of my exhaled breath. In this homespun experiment it is clear how

my exhalations contribute to the form of the plant.

The plants that have contributed to the fat on my body are un-

known to me. The supermarkets I shop at abstract food from their source

so effectively that it is difficult for me to visualize a Quinoa or Garbanzo

bean plant. I doubt that a poppy could grow from the poppy seeds on the

spice rack. I assume the seeds are genetically modified, processed, corpo-

ratized.

Breathing Fat

Linda Tegg

R. Meerman, A. J. Brown. "When somebody loses weight, where does the fat go?” BMJ, 2014; 349 Dec16 (13)

¹

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Siloed and dormant grains are compliant. They’re traded and cir-

culated according to our needs. We have co-evolved. Tales of migration,

survival and piracy unfold as each bean variety reflects a human history.

In this way they affirm our place in a world-for- us.

The absurd act of breathing so purposefully with the wheat-ber-

ries re-oriented my relationship with the grain. I began to see the super-

market as a latent garden, a compression of biodiversity, a plant com-

munity. I was curious to see what life could be sparked from within the

aisles. The unrealized plant within every grain and legume was a mystery

so I attempted to grow the entire bulk section. To un-know these grains as

food and understand them as plants, as beings with potential outside of

human consumption.

For months I have been growing these plants indoors, in galleries,

in the studio, spaces I have access to. Grown in modular containers I con-

tinually arrange them in into formations that resemble hillsides and valleys.

I think about the sense of human prosperity produced by images of rolling

green hills. I’ve heard that imagery of greenery alone assists in the recov-

ery of stress and mental fatigue in humans.² Indoors, I struggle to keep the

plants alive. Light, soil, water and space are inadequate. I wonder if the

seed wishes to become a plant, or if the stability of the silo is preferable.

As the plants recede, the illusion of hills gives way to the ecology of the

arrangement. The grid of the image’s construction is laid bare.

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The plants apply pressure to the buildings they inhabit. They

create an environment for insects and mould. Tensions between gnats and

my studio neighbours has necessitated that I work within a large plastic

enclosure – a bubble. A scaling up of the terrarium I breathed into a year

earlier. Many of the plants in NIMBY were sprouted in the plastic enclosure

and have spent most of their lives on display in a gallery. Looking back to

the terrariums lined up on my windowsill it is clear that the least contained

plants were the healthiest. With this move outdoors I hope that survival

won’t be such a struggle and the plants can grow on without me.

M. van den Berg, J. Maas, R. Muller, A. Braun, W. Kaandorp, R.van Lien, M. van Poppel, W. van Mechelen, A. van den Berg "Autonomic Nervous System Responses to Viewing Green and Built Set-tings: Differentiating Between Sympathetic and Parasympathetic Activity” Int J Environ Res Public Health. 2015 Dec12 (12)

²

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Species List

#9356 Small Red Chilli Beans / #7694 Extra Large Fava Beans / #5254

Black Beans (Turtle Beans) / #9554 Pinto Beans / #5285 Mung Beans

#7696 Flageolet Beans / #7751 Pigeon Beans / #7696 Black Garbanzo

Beans / #9508 Wild Rice / #5305 Soy Beans #5281 Baby Lima Beans

#9561 Fava Beans / #5266 Chickpeas (Garbanzo Beans) / #5272 Dark

Red Kidney Beans / #5287 Navy Beans / #7771 Steuben Yellow Eye

Beans / #7762 Scarlett Runner Beans / #5259 Cannellini Beans (White

Kidney Beans) / #5245 Adzuki Beans / #5268 Great Northern Beans

#7474 32 Bean & 8-Vegetable Soup/Chili / #9414 Countrywild

Brown Rice Blend / #6217 Olde World Pilaf / #6737 Lundberg’s Wild

Blend / #7746 Mayacoba Beans (Canary Beans) / #7699 Jacob’s Cattle

Trout Beans / #6489 Christmas Lima Beans / #8476 Tiger Eye Beans

#7693 European Soldier Beans / #7723 Petite Golden Lentils / #9441

French Green Lentils / #7592 Brown Lentils / #7722 Petite Crimson

Lentils / #9442 Black Lentils / #7720 Ivory White Lentils / #5280 Red

Lentils #9439 Large Green Lentils / #7742 Giant Peruvian Lima Beans

#5256 Black-eyed Peas / #8285 Raw Pumpkin Seeds (Pepitas) / #5885

Yellow Popcorn / #2355 Heirloom Popcorn Kernels / #7811 Black Barley

#5866 Kamut Berries / #5821 Buckwheat Groats / #8446 Kasha

#8444 Freekeh / #5812 Barley (Pearled) / #8032 Hard Red Winter

Wheat Berries / #9280 Wheat Berries (Soft White Pastry) / #5899 Spelt

Berries / #5897 Rye Berries (Whole) / #9434 Brown Flaxseed / #1249

Golden Flax Seeds #3412 Onions / #3399 Garlic / #9902 Yellow Mustard

Seed / #1590 Cardamom Pods / #8445 Caraway Seed / #8455

Coriander Seed / #1644 Fenugreek Seed / #2381 Sesame Seeds

#6684 Brown Flax Seed / #3638 Poppy Seeds / #6918 Juniper Berries

#8462 Fennell Seed / #8454 Cloves / #2897 Annatto Seed / #1849

Peppermill Blend / #8481 Whole Nutmeg / #8882 Allspice Whole

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Start small: miniaturized futures, a model home on borrowed landscapes.

That dreaded brown lawn. Lovely, crackly, brown, beat up. It’s

dirty, Daddy, it’s brown, it’s not clean. How are you supposed to avoid it?

You’ve got a lot of things stacked against you if you want to keep your

lawn clean, Ginger. All these water restrictions and the cost of spraying

chemicals. How d’ya fight it?

Crystal Beach. Palm Harbor. Good morning, Ginger. This swirling

bucket is pumpin’ some extraordinary stuff onto Frank Minuto’s grass. In-

stant lawn. The kids, when they come home, they’re gonna think I re-sod-

ded.

Paint your lawn, plant a palm. Green Lawn Magic. It’s safe around

pets, around kids. Can a palm and a lawn coexist? Whose landscape is

this, Ginger? You saw the brown lawn a second ago and, uh, welcome to a

green world! When you got so many houses for sale, don’t you want your

house to stand out from all the others?

Lovely, crackly, brown, beat up. Make sure he’s not accidentally

spray-painting a tree or something he wasn’t expecting to. I’m glad you

addressed that issue. Are you taking care of the neighbor’s house, too?

Every time I see you, Grant, you’ve got green on your face. Haha! Yeah, it

gets on your duds.

Start Small

Zsofi Valyi-Nagy

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A diorama: vegetation borrowed, resisting. The kids won’t even

notice. It’s safe around pets. Your plants are dying. Get ready to cut back

on watering because a first time offense will cost you almost two hundred

bucks. We are live with some answers on getting that oh-so- green lawn

we all want without having to pick up a hose.

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Symptoms of (de)extinction

Andrew Yang

The symptoms are everywhere, although who would recognize

them? Lacking fever or obvious rash, the landscape looks very much as

it usually does, just more so: Some buildings where perhaps there were

woods; fewer birds or insects of certain kinds, but who is counting.

Time is long, life is short, and things are many, so it isn’t easy to

feel convinced that we are in the midst of the sixth great extinction on the

history of our planet. A blinding flash of light in the sky, shattering boom,

and deep impact - that is another story. That is the story of a crater its

meteorite, the story of a sudden event.

66-million years ago over 50% of all life on the planet went extinct

because of an 11-mile wide meteorite that struck the Earth off the coast

of what is now the Yucatán peninsula along the Gulf of Mexico. That

impact left a impression: a hole, the Chicxulub crater, that is some 60 to

100 miles wide and created by a force equivalent of one billion atomic

bombs set off simultaneously. Once I visited the around the Mexican city

of Merida to see the Chichén Itzá ruins – did the Maya know they built

their temples inside the crater of a cataclysmic impact? The symptoms are

everywhere, that’s why they are so hard to see.

In the so-called Anthropocene there is a lot of doom and gloom.

It’s the slow violence, not the instantaneous, that we are so worried (or not

worried) about. But what if a large an enormous rock were to strike today,

one of those over 10,000 "near Earth objects” whose orbits pass so very

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close to us? It might be symptomatic of planetary scale extinction, but

certainly a kind of de-extinction as well. New forms emerge where the old

ones disappeared. At this moment scientists are undertaking a new study

and drilling into the Chicxulub crater to learn more about what happened

after the last big hit. They want to know if that crater became a unique

"cradle of life” in which new species emerged in the shallow seascape it

created in the impact’s wake.

Early, early on meteorites carried (and still carry) amino acids and

other organic molecules essential for the formation of life to Earth, and no

doubt to other planets as well. What’s more, almost all the water on our

planet - ocean to iceberg - is thought to have been carried on meteorites

onto this rocky place we’ve come to call mom, mother Earth. Alas, not just

the ingredients, but the aqueous medium of life itself has come by way of

violent, extra-terrestrial couriers.

Not in my backyard – one hopes (!) – but really, it has already

happened. Collision and revision; getting dug out of a hole or getting bur-

ied in one; it’s OK, there might not be much of a difference.

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A R T I S TB I O S

Jim Duignan

Liz Ensz

Nick Lippert

Kelly Reaves

Linda Tegg

Zsofi Valyi-Nagy

Andrew Yang

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Jim Duignanjim-duignan.org

stockyardinstitute.org

Jim Duignan is an artist and teacher who was born and raised in Chicago, he received his BFA and MFA from the University of Illinois at Chicago. Duignan has been a faculty member at DePaul University since 1992. Recent publications include, Building a Gang-Proof Suit: An Artistic and Pedagogical Framework, for the Chicago Social Practice History Series, (Eds.) Mary Jane Jacob and Kate Zeller, published University of Chicago Press (2015) and No Longer Interested for the Blade of Grass Foundation (2014). Major exhibitions include the Chicago Cultural Center, Reykjavik Art Museum, Iceland, Interference Archive, Brooklyn, NYC, Sul-livan Galleries, Chicago, Kochi-Muziris Biennial, India and the Hull House Muse-um. Jim Duignan founded the Stockyard Institute as an artist project and small community institute for studio work, community radio and radical pedagogy in the Back of the Yards neighborhood of south Chicago and has continued, since 1995, to orchestrate a range of works and ideas deep inside Chicago communities.

Liz Enszcargocollective.com/lizensz

themonumentquilt.orgvisitorcenterartistcamp.com

Liz Ensz was born in Minnesota to a resourceful family of penny-savers, metal scrappers, and curators of cast-offs. She received her MFA in Fiber & Material Studies from the School of the Art Institute of Chicago. Her work investigates the mass-cultural investment in disposability and the human desire to imagine perma-nence through emblems, monuments, and commemoration. Ensz has exhibited her textiles and sculpture nationwide, and is engaged in community projects including The Monument Quilt in Baltimore and The Sustainable Practices Symposium at The Visitor Center Artist Camp in the Upper Peninsula of Michigan.

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Kelly Reaveskellyreaves.com

Kelly Reaves grew up in condos on the west coast of Florida. As a mostly-only child, she spent most of her time drawing and building sand cities on the beach. In 2003 she moved to Chicago and got a BFA and an MA in New Arts Journalism from SAIC. Her thesis profiled the founders of a local arts organizations and charted the trajectory of artist-run spaces in Chicago. While writing her thesis, she was creat-ing her own cooperative artist-run studio and exhibition project, Peanut Gallery, which operated for four years out of Humboldt Park. Her artistic practice these days focuses on aging and death, but looks sexier than it sounds. Since retiring from bartending, she makes ends meet as an art handler, sprinkled with freelance art writing. Her favorite activity is laying in patches of sunlight.

Linda Tegglindategg.com

Linda Tegg explores the contingent viewing conditions through which we orient our-selves in the world. She was the Samstag Scholar of 2014, The Georges Mora Foun-dation Fellow of 2012 and has been the recipient of numerous Australia Council for the Arts and Arts Victoria Grants. She has degrees from The University of Melbourne and RMIT University. Recent Solo exhibitions include; cameratrap, Fresh Window Gallery, Brooklyn, 2016; Grasslands, The State Library of Victoria, Melbourne, 2014; Choir, Westspace, Melbourne 2014; Coexistence, MARSO Galleria, Mexico City, 2012. Selected group exhibitions include; Imperceptibly and Slowly Opening, Sector 2337, Chicago, 2105; Don’t Talk to Strangers, Random Institute, Brooklyn, 2014 and NEW13, Australian Centre for Contemporary Art, Melbourne, 2013.

Nick Lippertnicklippert.tumblr.com

Nick Lippert grew up on a skateboard near a cornfield outside of Peoria, IL. Boy-hood boredom drew him to adrenaline packed activities like thrashing at punk shows and abusing hot rods and motorcycles, but his fascination with design led him to the Art Institutes in Chicago where he studied Interior Design while work-ing as a bicycle courier. Since then, his interests and the diverse skill sets he’s acquired in the real world have developed into a furniture and interiors company, owned and operated solely by him, which focuses on sophisticated, masculine modernism with adrenaline-inducing details.

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Andrew Yangwww.andrewyang.net

Andrew Yang is a transdisciplinary artist, scholar, and natural historian exploring the ever-changing matrix of theories, things, and creatures. His projects have been exhibited from Oklahoma to Yokohama, Chicago to Kassel, including recent work for the14th Istanbul Biennial (2015), HKW in Berlin, as well as an upcoming solo show at Museum of Contemporary Art, Chicago. His writing & research appear in journals spanning biology, art, and philosophy, including Biological Theory, Gastro-nomica, Leonardo, Interdisciplinary Studies in the Philosophy of Science. He holds a PhD in Biology and MFA in Visual Arts and is currently an Associate Professor at the School of the Art Institute of Chicago as well as a research associate at the Field Museum of Natural History.

Zsofi Valyi-Nagyzsofivalyinagy.com

Zsofi Valyi-Nagy is a ~multihyphenate~ who lives and works just across the Mc-Donald’s parking lot from NIMBY. Her artwork employs projection and nontradition-al media to explore perception and memory. As a member of the new media and performance collective Robot Rauschenberg, Zsofi will show new work at Comfort Station here in Logan Square this August. Come fall, she will return to the Univer-sity of Chicago––where she studied visual arts and linguistics as an undergrad––to pursue a PhD in art history, hoping to focus on art and technology in the Cold War, particularly women artists’ use of holography.

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U P C O M I N G E V E N T S / E X H I B I T I O N S /

T A L K S

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NIMBYJune 4th – NIMBY opening 1-4 pm

July 23rd – Liz Ensz metal casting at NIMBY 3pm

ELSEWHEREJuly – Andrew Yang Geomagic, New Mexico State University, Las Cruces, NM

July 8th – Liz Ensz Iron Ore Cannot Be Educated Into Gold opening at the Sub-Mission

July 26th – Andrew Yang BMO Harris Bank Chicago Works: An-drew Yang, MCA Chicago, Chicago, IL

August 5th – Jim Duignan, Andrew Yang (with Christa Donner) Poor and Needy, The Poor Farm, Manawa, WI

August 6th – Zsofi Valyi-Nagy Big Huge and Exciting, Comfort Station, Chicago, IL

August 14th – Andrew Yang Getting Your Eyes On: Art/Biology Connections (talk), Grinnell College, Grinnell, IA.

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C R E D I T L I S T T O A L L I N V O L V E D & S P E C I A L

T H A N K S

Margot Mache

Andrea De La Torre

Marcey & Greg Riley

Levi FrerichsTara O’Dell

Flo Katzenbach Casey Fee

Scott Renfro

Jim DuignanLiz Ensz

Nick LippertKelly ReavesLinda Tegg

Zsofi Valyi-NagyAndrew Yang

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Andrea De La Torrecargocollective.com/andreadelatorre

Andrea De La Torre is mostly a graphic designer, sometimes a photographer, and always an avid traveler. She is originally from Tucson, but has had the opportu-nity to live in Mexico City, Paris, London and currently Chicago. Andrea received her BFA with a focus in Visual Communications at the School of the Art Institute in Chicago, and completed a Graphic Design Program at Central Saint Martins in London. Apart from working as a UX designer and freelancing on the side, she uses her design and artistic background to collaborate with others on self-initiated projects. She enjoys designing to bring people together, to create awareness of the moment, and to generate memorable experiences. Andrea focuses on brand identity, user experience, social and experiential design.

Z I N E & L O G O D E S I G N

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see you later,

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thanks for stopping by.

Open rain or shine when the nimby banner is up.Running through the summer – Monday to Sunday

S U M M E R H O U R S

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S U M M E R 2 0 1 6

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S U M M E R 2 0 1 6