Saturday, October 26, 2019
You look, you look … you look — you are, searching. Now you say I see! It means you’ve stoppedlooking. Let the viewer fade, the want-to-be will translate into a hole as it moves away from the ontological. Who do you think is watching, who is watching you when you move through the painting? Eyes … someone is not a body anymore, someone is only the one glaring eye. It. comes right out, but if you see yourself seen before time, you lose the game. You think, you are looking at the painting and you realize, it’s looking at you… It stole your eye – the very one
URS FISCHER
Leo
October 14–December 20, 2019
Gagosian, Paris.
What if the Phone Rings? archives Unmonumental, The Symptom
Monday, October 3, 2016
Art galleries, like museums, are in a state of flux, determined to find ways to survive and remain relevant in an increasingly hostile environment shaped by rising rents; development; absurd auction prices and a dearth of old-school collectors — ones who think for themselves.
The few that can are shape-shifting and scaling up, becoming more like museums, mounting shows with outside curators and even opening their own bookstores. Many galleries stage not only art performances — by now routine — but also panel discussions and conversations with the artists whose work they sell. As might be expected, these can blur the line between public service and promotion.
Rachel Rose, Sitting Feeding Sleeping (2013)
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Tuesday, February 10, 2015
“A series of monumental works feature organic, terrestrial forms made from resin and earth. In contrast to their raw, earthly matter, a series of highly polished stainless steel sculptures reflect and refract an illusion of the world onto their mirrored surfaces and confound the viewers’ relationship to the space around them. Similarly, several monochromatic voids appear to float on the gallery walls, their concave interiors play with the viewers’ perception of surface and depth and create the illusion of infinite space reflected in their void like interiors.” (from the press release)
Tunnelling Shadow (2014), resin and earth, 313 x 330 x 130 cm.
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Tuesday, October 14, 2014
Thursday, October 3, 2013
Chris Burden, Through the Night Softly, Main Street, Los Angeles, California: September 12, 1973
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Tuesday, May 21, 2013
Artist’s champagne bottle, pvc bucket, pvc hose, aluminum composite ring
with pigmented cheesecloth, electric air pump, brass
conduit and distilled water
Dimensions variable
Friday, September 9, 2011
Wednesday, April 27, 2011
Saturday, October 17, 2009
Thursday, October 1, 2009
Adrián Villar Rojas excels at site-specific works that oscillate among historical, symbolic and spatial effects. One brought him wide attention when he represented Argentina at the 2011 Venice Biennale. Since then, he has become a staple at these large international exhibitions. Working mostly in situ in cast concrete with a team of assistants, he may have single-handedly made a complement of “festivalist art,” originally a pejorative coined for the grandiose installations of such shows.
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