installation

Beth Stuart’s ‘The Golem. Her Lover’ at Battat Contemporary

It smells. That’s one of the most notable things. For years, Battat Contemporary has, at least in my stilted mind, become synonymous with the anti-septic. They posses a weird penchant for pushing the cliche of the white cube to the extreme point that they rarely seemed to show work that wasn’t black, white or grey. This has always been a jokey complement to the complete indifference of its staff to those who look at the work or ask questions about it. But the Beth Stuart show smells. Like popcorn at that. And this may in part be why her ‘The Golem. Her Lover’ registers as so theatrical. (more…)

Tricia Middleton’s Justine at Galerie Antoine Ertaskiran

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Justine is Tricia Middleton‘s first show at Galerie Antoine Ertaskiran. It displays many of the things that have become her hallmarks: heaps of building materials, toys, fabrics, paint cans and candles covered predominately with pink and blue pastels and piles of wax. Like her last show at AXENÉO7, Justine has turned away from the creation of small habitats to fill the space of the gallery with disparate piles. From the looks of it, a few of those piles may even have made their way into this show, shoved along the wall in a back room. (more…)

Julia Martin’s DAYS ENDING IN WHY at AXENÉO7

DIM LIT WHITE CUBE WITH NARROW SLITS
SUMMARY:
“BAD-TOUCHED-HYPER-SEXED-GRIEF-STRICKEN-FAT-GIRL-CLICHE”i
LESS SPECIFIC LABEL: GENERIC ALL CAPS HIPSTER ARTii
TIES SEX WITH WORK AND PAIN
INSTAX PHOTO HEAPS IN A TRANSPARENT SHELLiii
FAMILY/FRIEND & FELINE ARCHIVESiv, SHORN DOWN TO INSTA-NON-MEMORIESv
HEAPS OF PAPER AT THE FOOT OF CONDO MINIMAL FRAME JOBSvi
HEAPS OF PAPER TO MOP UP AN EXCESS WITHOUT AN EXCREMENT
PROJECTED EMAILS, FLOWERS AND BODY FRAGMENTS
CAR ADVERTISEMENT PATHOSvii
“A SIGH IS AN EMOTIONAL RESET”viii (more…)

Behind Closed Doors: Body of Evidence by Natascha Niederstrass at Gallery 101

Natascha NiederstrassBehind Closed Doors: Body of Evidence at Gallery 101 is an installation which examines the creation of Marcel Duchamp’s Given: 1° The Waterfall, 2° The Illuminating Gas (1946-1966) and draws on the elaborate manual that he created for its production. It displays a re-creation of his studio with the body parts from the work rendered as a chopped up mannequin. On the walls are photos of the infamous Black Dahlia murders. The exhibition text points to the Steve Hodel’s book, Black Dahlia Avenger: A Genius for Murder, in which he suggests that his surgeon father George Hodel – an art connoisseur and associate of Man Ray – murdered Elizabeth Short. This historical event is then set up as an inspiration for Duchamp’s enigmatic work of art. (more…)