4月24日晚实验戏剧《玛莉玛莲〉Mary & Malian 苏河艺术5F
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Joseph Kosuth 的迷宫
一个最近在纽约的卓越的展览。三个由Joseph Kosuth带来的令人在身临其境时产生无限遐想的迷宫在纽约的切尔西 Sean Kelly画廊展出。
在这里Kosuth将画廊转变成一个巨大的迷宫，迷宫会将观众带入画廊平时不向外开放的鲜为人知的空间，在其中，你将会分不出天南地北的走入一些墙角或意外，这个充满拐角的迷宫将有趣的带你进入一个奇异的探险旅程。
An Overlap of Labyrinths
[attachment=32137]
Installation view of the exhibition, “A Labyrinth into Which I Can Venture” at Sean Kelly
Joseph Kosuth
[attachment=32139]
Installation view of the exhibition, “A Labyrinth into Which I Can Venture” at Sean Kelly
Joseph Kosuth
[attachment=32140]
Installation view of the exhibition, "Proposition de Détour" at Peter Blum
Su-Mei Tse
[attachment=32141]
Installation view of the exhibition, "Proposition de Détour" at Peter Blum
Su-Mei Tse
[attachment=32142]
Installation view of the exhibition, “H_Edge” at Artists Space
Cecil Balmond and ARUP Advanced Geometry Unit
by Bryant Rousseau
NEW YORK, Oct. 20, 2006—Whether it’s a response to something in the zeitgeist (a metaphor, perhaps, for the entanglement of Iraq) or pure coincidence, a trio of excellent exhibitions currently showing in New York feature labyrinths (two of which visitors can actually enter and get pleasantly trapped in).
The most complex and impressive of these is the Joseph Kosuth installation at Sean Kelly in Chelsea (“A Labyrinth into Which I Can Venture,” on view through Oct. 28). Kosuth has transformed the entire gallery, including spaces not normally open to the public, into a massive maze, filled with dozens of turns and dead-ends. The walls are covered with hundreds upon hundreds of quotes, some profound, some banal, some merely amusing (Kafka and Wittgenstein make multiple appearances).
Embedded as part of the installation are key early works from Kosuth as well as new work created for this show.
Wandering the installation and immersing myself in the language was a transporting—and disorienting—experience. This is a gallery I have been in countless times, but soon I was genuinely lost, having no idea which way was out (or north, south, east or west).
As I was glancing at my watch (shocked that 40 minutes had already passed by) and beginning to think of minotaurs, I bumped into a giant, white-bearded man also roaming the installation: John Baldessari. (The gallery later confirmed that Kosuth’s fellow Conceptualist is not a permanent feature of the installation....)
Asked what he thought of the show, Baldessari said, “Joseph has been a friend of mine a long time. I really like the volume of [work in] this show; it’s over the top.” I told Baldessari I’d been inside 40 minutes and that it was time for me to go before the gallery staff sent out a search party. “Forty minutes?! That means you’re just getting started!”
This über-appropriate sighting had me pondering fate and chance as I left Sean Kelly and walked the five feet or so to the door of the adjoining gallery: Peter Blum’s new, cathedral-like space. I felt a little spooked when I saw inside—another labyrinth.
On the floor of the vast venue is Su-Mei Tse’s Proposition de Détour: a rug nearly 30-feet in diameter, which takes the form of the famous labyrinth found at Chartres cathedral, upon which are superimposed images of a paradise garden borrowed from a 16th-century Persian carpet (an optimistic co-mingling of the Christian and the Muslim).
While this is not a maze that visitors can physically enter (although a playful rat would have a ball), the work certainly invites a mental exploration, abetted by the silent, somewhat sacred feel of Blum’s space. (The work is on view through Nov. 4.)
After this pair of introspective shows, I thought I’d balance my Saturday afternoon with a visit to the clamorous, shopper-crowded streets of Soho and shot down to Artists Space. In the exhibition there, “H_Edge,” a semi-transparent labyrinth occupies the entire main gallery.
Constructed of somewhat ominous-looking aluminum blades (suspended in space by stainless-steel chain and not quite touching each other), the project has been created by Cecil Balmond and ARUP Advanced Geometry Unit, a think tank dedicated to researching complex structural geometry in support of new architectural visions and solutions.
It’s somewhat intimidating to go into the maze, as I both feared for myself (it’s like entering the teeth-lined gullet of some creature) and for the artwork (it seems fragile enough that a push or gentle breeze could bring it all down).
My favorite part of the project, and the one which best approximated the press release’s promise that visitors would have the “opportunity to experience, interact with and compartmentalize physical space in new and exciting ways,” was a closet-size area that I gingerly climbed into (too late, I noticed the sign warning to “watch your head”) and truly felt as if the work had swallowed me whole—I’d been ingested into the center of the art.
一个最近在纽约的卓越的展览。三个由Joseph Kosuth带来的令人在身临其境时产生无限遐想的迷宫在纽约的切尔西 Sean Kelly画廊展出。
在这里Kosuth将画廊转变成一个巨大的迷宫，迷宫会将观众带入画廊平时不向外开放的鲜为人知的空间，在其中，你将会分不出天南地北的走入一些墙角或意外，这个充满拐角的迷宫将有趣的带你进入一个奇异的探险旅程。
An Overlap of Labyrinths
[attachment=32137]
Installation view of the exhibition, “A Labyrinth into Which I Can Venture” at Sean Kelly
Joseph Kosuth
[attachment=32139]
Installation view of the exhibition, “A Labyrinth into Which I Can Venture” at Sean Kelly
Joseph Kosuth
[attachment=32140]
Installation view of the exhibition, "Proposition de Détour" at Peter Blum
Su-Mei Tse
[attachment=32141]
Installation view of the exhibition, "Proposition de Détour" at Peter Blum
Su-Mei Tse
[attachment=32142]
Installation view of the exhibition, “H_Edge” at Artists Space
Cecil Balmond and ARUP Advanced Geometry Unit
by Bryant Rousseau
NEW YORK, Oct. 20, 2006—Whether it’s a response to something in the zeitgeist (a metaphor, perhaps, for the entanglement of Iraq) or pure coincidence, a trio of excellent exhibitions currently showing in New York feature labyrinths (two of which visitors can actually enter and get pleasantly trapped in).
The most complex and impressive of these is the Joseph Kosuth installation at Sean Kelly in Chelsea (“A Labyrinth into Which I Can Venture,” on view through Oct. 28). Kosuth has transformed the entire gallery, including spaces not normally open to the public, into a massive maze, filled with dozens of turns and dead-ends. The walls are covered with hundreds upon hundreds of quotes, some profound, some banal, some merely amusing (Kafka and Wittgenstein make multiple appearances).
Embedded as part of the installation are key early works from Kosuth as well as new work created for this show.
Wandering the installation and immersing myself in the language was a transporting—and disorienting—experience. This is a gallery I have been in countless times, but soon I was genuinely lost, having no idea which way was out (or north, south, east or west).
As I was glancing at my watch (shocked that 40 minutes had already passed by) and beginning to think of minotaurs, I bumped into a giant, white-bearded man also roaming the installation: John Baldessari. (The gallery later confirmed that Kosuth’s fellow Conceptualist is not a permanent feature of the installation....)
Asked what he thought of the show, Baldessari said, “Joseph has been a friend of mine a long time. I really like the volume of [work in] this show; it’s over the top.” I told Baldessari I’d been inside 40 minutes and that it was time for me to go before the gallery staff sent out a search party. “Forty minutes?! That means you’re just getting started!”
This über-appropriate sighting had me pondering fate and chance as I left Sean Kelly and walked the five feet or so to the door of the adjoining gallery: Peter Blum’s new, cathedral-like space. I felt a little spooked when I saw inside—another labyrinth.
On the floor of the vast venue is Su-Mei Tse’s Proposition de Détour: a rug nearly 30-feet in diameter, which takes the form of the famous labyrinth found at Chartres cathedral, upon which are superimposed images of a paradise garden borrowed from a 16th-century Persian carpet (an optimistic co-mingling of the Christian and the Muslim).
While this is not a maze that visitors can physically enter (although a playful rat would have a ball), the work certainly invites a mental exploration, abetted by the silent, somewhat sacred feel of Blum’s space. (The work is on view through Nov. 4.)
After this pair of introspective shows, I thought I’d balance my Saturday afternoon with a visit to the clamorous, shopper-crowded streets of Soho and shot down to Artists Space. In the exhibition there, “H_Edge,” a semi-transparent labyrinth occupies the entire main gallery.
Constructed of somewhat ominous-looking aluminum blades (suspended in space by stainless-steel chain and not quite touching each other), the project has been created by Cecil Balmond and ARUP Advanced Geometry Unit, a think tank dedicated to researching complex structural geometry in support of new architectural visions and solutions.
It’s somewhat intimidating to go into the maze, as I both feared for myself (it’s like entering the teeth-lined gullet of some creature) and for the artwork (it seems fragile enough that a push or gentle breeze could bring it all down).
My favorite part of the project, and the one which best approximated the press release’s promise that visitors would have the “opportunity to experience, interact with and compartmentalize physical space in new and exciting ways,” was a closet-size area that I gingerly climbed into (too late, I noticed the sign warning to “watch your head”) and truly felt as if the work had swallowed me whole—I’d been ingested into the center of the art.
