评论:最佳画廊——纽约展览推介

Critic's Guide - 13 Jul 2018

Critic's Guide: The Best of the Gallery-Share Shows On Now in New York

Highlights from Condo New York 2018 and Commonwealth and Council at 47 Canal: the summer shows to see

By Tausif Noor

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Anna K.E., Smooth Criminal, 2018, laser cut linoleum floor, adhesive colour vinyl, black varnished metal/cement structure with TV screen, displaying Smooth Criminal (2:21 min.), silkscreened denim jacket. Courtesy: Simone Subal, New York

Anna K.E.,Smooth Criminal,2018年,激光切割油毡地板,粘性彩色乙烯基,黑色漆金属/水泥结构,带电视屏幕,显示Smooth Criminal(2:21分钟),丝网印花牛仔夹克。鸣谢:Simone Subal,纽约

Simone Subal
Hosting Sadie Coles HQ, London

Simone Subal
主办:Sadie Coles总部,伦敦

Anna K.E.’s video sculpture What Ocean Is (2016–18) comprises a monitor placed on metal bars resting on a laser-cut linoleum floor affixed with coloured vinyl. Its markings indicate steps and positions, a reference to the artist’s training as a classical ballerina, but also to the notation of gestures more broadly: how can movement be marked, and how, in turn, can these markings index meaning? The videos embedded in her two installations here offer only further complications: the artist clutches a flattened cardboard box under her arm, jerking her body like a weathervane in the wind. Nearby, spray-painted sneakers or a flung denim jacket sit and hang respectively, awaiting their animus into action. On the gallery’s walls, Daniel Sinsel’s trompe l’oeil paintings lend whimsy to K.E.’s Raymond Roussel-like private language. Made on linen with oil paint, they are littered with small details – patches of leaves and cherry stones, circles of cut glass, a scrawled fig – that recall Laura Owens’s late ’90s paintings interspersed with bees, monkeys, and other airbrushed critters.

Anna K.E.的视频雕塑What Ocean Is(2016-18)包括一个放置在金属条上的显示器,放置在激光切割的油毡地板上,上面贴有彩色乙烯基。它的标记表示步骤和位置,作为艺术家作为古典芭蕾舞演员的训练的参考,但也更广泛地表达了手势的标记:如何标记运动,以及这些标记如何指示意义呢?在她的两个装置中嵌入的视频只提供了进一步的复杂性:艺术家在她的胳膊下抓住一个扁平的纸板箱,像风中的风向标一样拉扯她的身体。附近,喷漆运动鞋或甩牛仔夹克分别坐着和悬挂,等待他们的敌意行动。在画廊的墙上,Daniel Sinsel的错视画给K.E.的Raymond Roussel式私人语言带来了奇思妙想。在亚麻布上涂上油漆,它们散落着小小的细节 - 一片片叶子和樱桃石,切割的圆形玻璃,一块潦草的无花果 - 让人想起劳拉·欧文斯(Laura Owens)90年代后期的画作中穿插着蜜蜂,猴子和其他喷绘的小动物。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Puppies Puppies, The Difference Between Sex And Gender, 2018, custom laminate floor vinyl, installation view, Queer Thoughts, New York. Courtesy: Queer Thoughts, New York

小狗,性别和性别之间的差异,2018年,定制复合地板乙烯基,安装视图,酷儿思想,纽约。鸣谢:Queer Thoughts,纽约

Queer Thoughts
Hosting Park View/Paul Soto, Los Angeles/Brussels

酷儿思想
主办:公园景观/保罗索托,洛杉矶/布鲁塞尔

Puppies Puppies is an artist for our time, in part because of their age (b.1989), but mostly because their finger rests firmly on the pulse of our collective wokening. Enter the gallery, slip on a pair of blue shoe covers and slide across the laminate floor vinyl, on which is inscribed some updated truisms that nevertheless bear repeating: CHROMOSOMES DO NOT DETERMINE GENDER, GENITALS DO NOT DETERMINE GENDER. Or turn to another work by the artist, a .38 Llama Revolver Model XII used by the military and police. Permanently disabled and mounted on a wall, it is titled Trigger. Diamond Stingily’s (b.1990) minute-long video on loop on a monitor rests on the floor. It is what Hito Steyerl would describe as a ‘poor image’, and is intentionally so – its inscrutability and repetitiveness is mesmerizing. On the opposite wall hangs a 2018 painting by Alex Olson – a generation just above these two, but whose paintings succeed with measured tones and carefully balanced compositions.

Puppies Puppies是我们这个时代的艺术家,部分原因在于他们的年龄(1989年),但主要是因为他们的手指坚定地依赖于我们集体愚蠢的脉搏。进入画廊,在一对蓝色鞋套上滑动并滑过层压地板乙烯基,上面刻有一些更新的真理,但仍然重复:染色体不能确定性别,生殖器不要确定性别。或者转向艺术家的另一部作品,即军队和警察使用的.38 Llama Revolver Model XII。永久禁用并安装在墙上,标题为Trigger。钻石Stingily的(b.1990)长达一分钟的监视器循环视频放在地板上。这就是Hito Steyerl所描述的“穷人形象”,并且故意如此 - 它的难以理解和重复性令人着迷。在对面的墙上挂着一幅2018年由亚力森奥尔森(Alex Olson)绘画的画作 - 这一代画面就在这两幅画作之上,但他的画作以成功的音调和精心平衡的作品成功。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Rebecca Morris, Untitled (#0418), 2018, oil on canvas, 3.3 x 2.6 m. Courtesy: the artist and Corbett vs. Dempsey, Chicago

丽贝卡莫里斯,无题(#04-18),2018年,布面油画,3.3 x 2.6米。礼貌:艺术家和Corbett对阵Dempsey,芝加哥

Bortolami
Hosting Corbett vs. Dempsey, Chicago

Bortolami
主持Corbett与Dempsey,芝加哥

The Los Angeles based painter Rebecca Morris is a champion and perverter of the grid. It appears plainly and then obliquely in two untitled paintings here, both from 2018. In its more straightforward iteration, Untitled (#01–18), the grid functions as ground for the milky lavender and white striations of spray paint that pool behind interlocking lines of thin silver. The grid then serves as inspiration from which to diverge, splendidly and with aplomb, for a larger canvas whose main thrust is movement. For Untitled (#0418), Morris has taken familiar points of experimentation from her previous work – geometric shapes shaped like sails or fins, patches of colour patterned in distinct yet amorphous fields – and thrust into them a dynamism and energy that feels both unprecedented and yet entirely in character. Here, composition becomes something less learned and more willed: a force to fit within the confines of the canvas. Walk into an adjoining gallery and witness this break from the canvas in a more literal sense, in Ed Flood’s Diamondback (1980). A cluster of curved acrylic-on-wood components, the installation reflects the post-minimalist approach that Flood, who was an initial member of Chicago Imagist group Nonplussed Some, made after moving to New York in the 1970s.

洛杉矶的画家丽贝卡莫里斯是电网的冠军和变形者。从2018年开始,它看起来很明显,然后倾斜地放在两幅无标题的画作中。在更直接的迭代中,无标题(#01-18),网格作为乳白色薰衣草和喷漆的白色条纹的基础,汇集在互锁线后面薄银。然后,网格作为灵感,从中发出辉煌和沉着的灵感,为更大的画布,其主要推力是运动。对于无题(#04-18),莫里斯从她以前的作品中获得了熟悉的实验点 - 形状像帆或鳍的几何形状,在明显但非定形的场地中形成的彩色斑块 - 并且向它们注入了动感和能量。前所未有但又完全具有个性。在这里,构图变得不那么有学问,更有意志:适合画布范围内的力量。在Ed Flood的Diamondback(1980)中,走进一个相邻的画廊,从字面意义上看到画布的这种突破。这是一系列弧形丙烯木组件,反映了后极简主义的做法,即Flood是芝加哥意象家集团Nonplussed Some的初始成员,是在20世纪70年代搬到纽约后制作的。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Kanishka Raja, Drawing for Control 10 (From Bauhaus to My House), 2016–17, oil and prepared arches on paper, each: 1.6 x 1.2 m. Courtesy: Experimenter, Kolkata

Kanishka Raja,绘图控制10(从包豪斯到我家),2016-17,石油和准备在纸上的拱门,每个:1.6 x 1.2米。鸣谢:实验者,加尔各答

Bridget Donahue 
Hosting Experimenter, Kolkata

布里奇特·多纳休
主办:加尔各答

The artists gathered by Prateek and Priyanka Raja of Kolkata’s Experimenter, here on the Bowery, take as their departure the various iterations of architectural form, from concept to production. Rathin Barman’s untitled drawings of an edifice’s interior collide with perspectives of its inner trappings; interspersed within each are small zones of brass and pumice. Kanishka Raja’s Drawing for Control 10 (From Bauhaus to My House) (2016–17) are presented in the typically brilliantly hued blue common to architectural plans, but with added flourishes in a Piet Mondrian palette, making these layouts teem with life: a tiled floral pattern here, a Moroccan lining there. Ayesha Sultana’s suite of watercolours, elemental and spare, offers considerations of shapes in both scalar and vector dimensions; they too are rendered in a cool, baby blue. If a model consists of shapes with the aspirations of form, these aspirations spring to life in Sahil Naik’s untitled wall-mounted sculptures of rusted brass, decorated with the interlocking jali pattern typical of South Asian architecture.

由加尔各答的实验者Prateek和Priyanka Raja收集的艺术家,在这里的Bowery,作为他们的出发,从概念到生产的各种建筑形式的迭代。拉辛·巴曼(Rathin Barman)对大厦内部的无题图画与其内部装饰的视角相互碰撞;每个穿插在黄铜和浮石的小区域内。 Kanishka Raja的控制图10(从包豪斯到我的房子)(2016-17)以典型的色彩绚丽的蓝色建筑平面呈现,但在Piet Mondrian调色板中增添了繁荣,使这些布局与生活息息相关:平铺花卉图案,摩洛哥衬里。 Ayesha Sultana的水彩画元素和元素,提供了标量和矢量维度的形状考虑;它们也呈现出凉爽的淡蓝色。如果一个模型由具有形式愿望的形状组成,这些愿望将在Sahil Naik的无标题壁挂式生锈黄铜雕塑中栩栩如生,装饰着典型的南亚建筑的互锁式jali图案。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Sven Loven, Trip to Mars, 2018, acrylic on canvas, 1.5 x 1.8 m. Courtesy: Christian Andersen, Copenhagen

Sven Loven,2018年火星之旅,帆布丙烯酸,1.5 x 1.8米。礼貌:Christian Andersen,哥本哈根

Foxy Production
Hosting Christian Andersen, Copenhagen and Edouard Malingue Gallery, Hong Kong, Shanghai

狡猾的生产
主办Christian Andersen,哥本哈根和Edouard Malingue画廊,香港,上海

Given the state of things, and the things the State has wrought, one might well crave an escape. Sven Loven’s two paintings here, Thoughts are cosmetic and Trip to Mars (both 2018) are acidic journeys to transport us out of present time and into some nebulous cloud. Warped, weird, and way out, they beckon like club flyers, promoting a hedonism inspired by the twisted cabal of Hieronymous Bosch’s 1561 Concert in the Egg. A Tom Humphreys sculpture props herself on an elbow nearby, coolly awaiting her ticket out; her washed-surface and attenuated limbs suggest that she has emerged from some other depths. Works by Edouard Malingue Gallery’s Zheng Zou, whose three oil paintings here are crowded with haunted and haunting figures, celebrate a similar danse macabre. Ominous figures hover over each other, point to the sky, and reach above the crowd; they too, are trying to grasp meaning from the cosmos, and why shouldn’t they? There’s only so much hell we can take on earth. Among these works, Jeremy Everett’s excellent degradé paintings on blankets – in shades of rose and blue, shimmering and somber – read here like aura colour tests, as if to say: have a little faith – in anything.

鉴于事态和国家所做的事情,人们可能会渴望逃避。斯文·洛文(Sven Loven)在这里的两幅画作,思想是化妆品和火星之旅(2018年)是酸性旅程,将我们从现在带到一些模糊的云中。翘曲,怪异,出路,他们像俱乐部传单一样招呼,促进了一种享乐主义的灵感来自于Hieronymous Bosch 1561音乐会中的扭曲阴谋。一个汤姆汉弗莱斯的雕塑在附近的肘部支撑自己,冷静地等待她的门票;她的水洗表面和四肢萎缩表明她已从其他深处出现。爱德华·马林格画廊的郑邹的作品,其三幅油画中充满了闹鬼和令人难以忘怀的人物,庆祝着类似的令人毛骨悚然的恐惧。不祥的人物盘旋在一起,指向天空,到达人群之上;他们也试图从宇宙中抓住意义,为什么不应该呢?我们在地球上只能承受这么多地狱。在这些作品中,杰里米·埃弗雷特在毯子上的优秀降格画作 - 玫瑰色和蓝色,闪闪发光和阴沉的色调 - 在这里阅读,就像光环颜色测试一样,好像在说:有一点信心 - 任何东西。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Maximilian Schubert, Untitled (copper), 2018, cast copper, 36 x 36 x 4 cm. Courtesy: the artist

Maximilian Schubert,Untitled(铜),2018年,铸铜,36 x 36 x 4 cm。礼貌:艺术家

Van Doren Waxter
Hosting Grey Noise, Dubai and Maisterravalbuena, Madrid/Lisbon

Van Doren Waxter
主办灰色噪音,迪拜和Maisterravalbuena,马德里/里斯本

The five artists presented at Van Doren Waxter’s presentation of Grey Noise and Maisterravalbuena differ in medium (watercolour on paper, acrylic on canvas, sculpture) but each reflect upon, in austere and precise ways, the limitations and possibilities afforded by their chosen materials, raising the bar for the group show as a genre. Lahore-based Fahd Burki’s serene abstract canvases of periwinkle, taupe, and white are an automatic standout, evocative of the minimalism espoused by Agnes Martin and Nasreen Mohamedi, with subtle and distinct moments of candid departure from both. Joana Escoval’s razor-sharp installations comprising gold, wood, and glass occupy a similar position on the axis of pared-down artist’s touch; each component of her sculptures pristinely complements the other, to an overall numinous effect. Rounding out the exhibition are paintings by Néstor Sanmiguel Diest, with swelling abstract shapes just contained by their canvases, and a series of watercolours and resin works on paper by Caetano de Almeida depicting torn caning patterns. While the majority of de Almeida’s works on paper are in muted tones of brown, CAA-006 (2016), wraps around its canvas in a deep Yves Klein blue, accentuating the white canvas beneath and anchoring the work as a focal point amongst the other strong works in the exhibition.

在Van Doren Waxter的Grey Noise和Maisterravalbuena的介绍中,五位艺术家的介绍(纸上水彩,帆布上的丙烯画,雕塑)不同,但每一位都以严谨和精确的方式反映他们所选材料所提供的限制和可能性,提高该组的栏显示为一种类型。总部位于拉合尔的法赫德·布尔基(Fahd Burki)的长春,灰褐色和白色的宁静抽象画布是一个自动的杰出表现,唤起了艾格尼丝·马丁(Agnes Martin)和纳西林·穆罕默德(Nasreen Mohamedi)所倡导的极简主义,以及从两者中坦率地离开的微妙而鲜明的时刻。 Joana Escoval的剃刀般的装置包括金色,木质和玻璃,在简约的艺术家的触摸轴上占据着类似的位置;她雕塑的每个组成部分都与另一个组成了原始的完美结合。展览结束时,NéstorSanmiguelDiest绘画作品,画布上的抽象形状膨胀,Caetano de Almeida在纸上绘制了一系列水彩画和树脂作品,描绘了撕裂的缎纹图案。虽然de Almeida的大部分作品都采用柔和的棕色色调CAA-006(2016),在画布周围用深Yves Klein蓝色包裹着,突出了下方的白色画布,并将作品作为焦点集中在另一个展览中的强势作品。

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Critic's Guide: The Best of the Gallery-Share Shows On Now in New York - 评论家和《039指南:最佳画廊分享》在纽约展出

Carmen Argote, Dingbat Theater, 2016, paper cache, objects, 64 x 57 x 50 cm. Courtesy: the artist

Carmen Argote,Dingbat剧院,2016年,纸质缓存,物体,64 x 57 x 50 cm。礼貌:艺术家

47 Canal
Hosting Commonwealth and Council, Los Angeles

47运河
联邦和理事会主持,洛杉矶

Gallerist duo Margaret Lee and Oliver Newton present a group exhibition at their Grand Street location with the Los Angeles based gallery Commonwealth and Council (the two-part exhibition is also hosted at Tina Kim Gallery). Of particular note is Young Joon Kwak’s metallically sheened sculpture created from casting male sex toys – so many impressions of vaginas form the surface – but the resulting formation is neither yonic nor libidinal, rather a captivating exegesis of the troubling weight we assign to genitalia. There’s a more genitalia in Kenneth Tam’s 2011 video The compression is not subservient to the explosion; it gives it increased force, but here the focus is on the artist’s deadpan register and interaction with an unseen interlocutor as they navigate a muted dance of sexual tension. The show’s most puzzling, and puzzlingly endearing works are by Carmen Argote, whose Dingbat Theater (2016) consists of an amalgamation of cardboard, dolls, photographs, jewelry, toys, and a red wig, functioning as a sort of shrine of memorabilia. They are arranged by the artist’s sister Alejandra, who can be seen at work making these objects in the video Arranging the Alex Theater (2016). Orbiting a location somewhere between sentimentality and kitsch, these works are nonetheless wholly inviting – echoing the spirit of hospitality espoused by Condo, though not officially in its domain.

Condo New York 2018 runs until 27 July; Commonwealth and Council at 47 Canal runs until 3 August.

Gallerist二重奏组Margaret Lee和Oliver Newton在其位于Grand Street的地点举办了一场群展,与洛杉矶的画廊Commonwealth and Council(两部分展览也在Tina Kim画廊举办)。尤其值得注意的是Young Joon Kwak用铸造男性性玩具制作的金属雕刻雕塑 - 阴道的许多印象形成于表面 - 但由此产生的形成既不是滋养也不是利比多,而是我们赋予生殖器的令人不安的重量的迷人解释。肯尼斯·谭(Kenneth Tam)的2011年视频中有更多的生殖器。压缩不会导致爆炸;它增加了力量,但这里的焦点在于艺术家的面无表情的注册以及与一位看不见的对话者的互动,因为他们在性紧张的舞蹈中徘徊。该节目最令人费解的,令人费解的令人费解的作品是Carmen Argote,其Dingbat剧院(2016)由纸板,娃娃,照片,珠宝,玩具和红色假发的合并组成,作为一种纪念品的圣地。它们由艺术家的妹妹亚历杭德拉安排,他可以在视频安排亚历克斯剧院(2016)中看到这些物品。在多愁善感和媚俗之间的某个位置上轨道运行,这些作品完全是诱人的 - 呼应了公寓所倡导的热情好客的精神,尽管不是正式的。

纽约公寓2018年营业至7月27日; 47运河的英联邦和理事会一直运行到8月3日。

Tausif Noor

Tausif Noor is a contributing editor at Momus and writer based in New York.

Condo
Condo New York
New York
Critic's Guide
Tausif Noor
Simone Subal Gallery
Queer Thoughts
Bortolami Gallery
foxy production
Bridget Donahue
Van Doren Waxter
47 Canal

FRIZE特稿 ARThing编译


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