The Art Institute Chicago

ART INSTITUTE | 111 South Michigan Avenue
Illinois-60603 Chicago

plan route show map

artists & participants

press release

TURNER PRIZE–NOMINATED BRITISH ARTIST ROGER HIORNS CREATES "DOMINANT" SCULPTURE FOR THE ART INSTITUTE Massive Airplane Engines Installed on Museum's Bluhm Family Terrace Untitled (Alliance)on View through September 19, 2010

British artist Roger Hiorns (b. 1975), who was nominated for the Turner Prize in 2009, is the latest featured contemporary artist on the Bluhm Family Terrace of the Art Institute of Chicago's Modern Wing. His Untitled (Alliance) of 2010 is a commissioned site-specific sculpture consisting of two massive Boeing airplane engines, placed on the terrace in the foreground of the Chicago skyline and Millennium Park. Hiorns's first collaboration with a major American museum, Untitled (Alliance) is on view through September 19, 2010, and is free and open to the public.

The London-based artist is perhaps best known for his work SEIZURE (2008), in which he filled an abandoned apartment complex in South London with liquid copper sulfate. Over time, the copper sulfate solidified and coated every surface and texture of the space with brilliant blue crystals. SEIZUREgarnered Hiorns the prestigious Turner Prize nomination and secured his reputation as an artist who creates arresting sculptural objects, installations, and performances that integrate unusual materials—such as detergent, disinfectant, semen, fire, and chemical compounds—to engineer physical and aesthetic transformations.

Untitled (Alliance), Hiorns's sculpture for the Art Institute, combines his interest in machine forms with his preoccupation with the symbolic power of culturally "dominant" objects. His previous engine-based sculptures have involved the atomization of a passenger jet to fine dust; the insertion of brain matter into the engine of a Toyota people carrier; and the coating of automobile engines in translucent aqua-colored copper sulphate crystals. In the most general terms, engines are a symbolic and physical manifestation of power and, for Hiorns, a metaphor for organic and global networks—both inert and, potentially, threateningly alive.

This specific project for the Bluhm Family Terrace of the Art Institute's Modern Wing consists of two Pratt & Whitney TF33 P9 engines, which were once mounted on Boeing EC-135 Looking Glass long-range surveillance planes. Here United States Air Force engine apparatuses—tools of security and preventative action—become subject to a further material alteration. The artist has incorporated into the engines the pulverized forms of Effexor, Citalopram, and Mannitol, three pharmaceuticals used to treat trauma and depression, that are invisible and inaccessible to the viewer yet still make the connection between global security and individual well being. This gesture suggests, like the engines themselves, the creation and alleviation of anxiety on both a national and personal level.

Untitled (Alliance) furthers Hiorns's program of "re-evaluating selected objects." He has stated that "powerful organizations in the world leave their excess power lying in the street for the citizen or the artist to pick up and reuse, reassert or transgress from the original use." The Pratt & Whitney engines, now abandoned tools of surveillance missions, represent just this excess literal and figurative power, called into service at the Art Institute to remind visitors of the price of prosperity—as do the pharmaceuticals—and the materials of modern society.

Roger Hiorns: Untitled (Alliance) is curated by James Rondeau, Frances and Thomas Dittmer Chair of Contemporary Art, the Art Institute of Chicago. Major funding is generously provided by The Boeing Company. The Bluhm Family Endowment Fund supports exhibitions of modern and contemporary sculpture, which may consist of existing works drawn from the Art Institute's permanent collection or borrowed from other collections private and public, or new works commissioned specifically for this site.

Roger Hiorns
Untitled (Alliance)
Kuratoren: James Rondeau, Frances, Thomas Dittmer Chair