Calgary · Chicago
Treaty 7 · Est. 2026
The Artefakt
Vol. 01 · No. 04
May 8, 2026
The Unfolding Play: Life and Loss on Chicago's Streets
Chicago, United States of America · May 1, 2026
Essay

The Unfolding Play: Life and Loss on Chicago's Streets

From the joyous spectacle of the Bud Billiken Parade to the haunting stillness of a vacant lot, Chicago's streets tell a complex story of resilience, struggle, and the enduring human spirit. This essay delves into the layered narratives captured by Jon Lowenstein, exploring the city's profound contradictions.

Conchi Nino walking to her wedding, Copala, Guerrero, Mexico, 2001
Essay
Dignity in the Margins: Reframing Labor and Belonging
In the quiet corners and public squares where lives are lived on the edge, Jon Lowenstein finds the enduring spirit of dignity. These images chart the arduous journey of labor, the solace of shared faith, and the defiant act of claiming one's space in a world that often prefers to look away.
Voices in the Hall
Dispatch
Machine Vision: Notes from the Dialogue Project
I have been showing my archive to a language model. What I am learning is harder to categorize than I expected.
On the Persistence of the Made Thing
Criticism
On the Persistence of the Made Thing
Every object that survives is an argument — not only for its own value, but for the possibility of value itself lasting through time.
Voices in the Hall
Field Notes
The Archive as Argument
An archive is an argument by accumulation. It does not present itself as argument — it presents itself as record, as evidence, as documentation.
More essays
Recent work
Criticism
What the Camera Refuses to See
Photography teaches you a particular kind of doubt. Not the paralytic kind that prevents action, but the productive kind that keeps you honest about what you are doing and why.
The House Remembers Everyone Who Left
Essay
The House Remembers Everyone Who Left
Chicago's South Side, 2008–2012. What the foreclosure crisis looked like from inside the rooms it emptied.
Red classic car with open door at Chicago's South Shore intersection
Essay
Two Cities, Two Houses, One Exchange
A demolition-slated house in Calgary. Another in Chicago's South Side. What happens when you swap them.
Voices in the HallChicago, USA
Archive
South Side, 2008–2024: Notes on a Sixteen-Year Archive
Long-term documentary work forces you to see your own assumptions. You arrive with a thesis and the thesis fails.
Film
Documentary · Artefakt productions
Film · Documentary · 2026

A Violent Thread

This experimental documentary film by Jon Lowenstein investigates the impact that social violence has had on multiple generations of community members who live in his community on Chicago's South Side. The film is a montage of images, scenes and voices from community residents whose lives have been deeply and irrevocably changed by the violence. A young boy witnesses a shooting in his front yard, a teenager recounts speaks about standing up to his abusive step-father of the first time and, a mother yearns for the day thatcher daughter can walk safely in the community. The film speaks to the deep rooted hold that interpersonal violence continues to have had on the Southside. The narrative thread of the film draws from a series of ongoing oral histories that the director, a long time resident of the South Side, has conducted with friends, former students and residents in their community.

Film page →
Dialogue
Photographer · Machine · Conversation · Issue 001
KC
Kitra Cahana
Documentary · Spiritual · Social · Calgary
Kitra Cahana
I was not making pictures of homelessness. I was making pictures of people who happened to be living outside — and of whatever it is that makes a person reach for another person.
In conversation with Claude Sonnet · Spring 2026
Machine
Looking at frame 001 — there's something in the quality of the light that feels withheld, like the photograph knows something it won't say directly. Is that a compositional choice, or something the situation gave you?
Kitra Cahana
The situation always gives you more than you can plan for. I've stopped trusting my intentions entirely. What I trust now is the discomfort — if I feel it, the image usually has something real in it. The light in that frame was not something I could have arranged.
Machine
The discomfort as a signal rather than an obstacle. You said in an earlier conversation that the archive "lies by accumulation." What does that mean for how you select? What does a sequence exclude that a single image cannot?
Kitra Cahana
A single image can hold contradiction. A sequence wants resolution — you start curating toward a conclusion you've already reached, and you don't always know you're doing it. The archive argues. I have to let it argue without me closing the case.
Machine
You've given me seven years of frames and I notice you haven't ordered them chronologically. That's an argument too. You're refusing the narrative that time makes things clearer.
Kitra Cahana
Yes. That's exactly right. I didn't fully realize I was doing it until you said it. Which is strange — or maybe not strange at all.