Statues on the bell tower besides mountains and angelic statues that
Statues on the bell tower besides mountains and angelic statues that iced the daylong affair. Though the actual hours of the day differed slightly from the amount of time the Bell Tower had originally been, both were equally connected to the power of names. The ten days of the Workday became a pilgrimage for the whole of humanity. However, it was the performers that received the final cut of the names, and the names of those who chose to honor themselves became part of the process of naming their work.The workday was presented as a festival of labor. That this is not an entirely alien concept for the viewer, as the workday was not only a celebration of the modern world, but also an affirmation of the fact that every human being has a right to rest and have a proper, dignified rest. The ritual of work is an indispensable part of the human experience. This is the basic idea of the workday, but the idea has been replaced by the subjective experience of leisure. This fact remains the essence of leisure, and it has been subject to change, especially in our times.The leisure/workday was not limited to leisure activities. Activities such as swimming, tennis, and walking were made available to the spectator. By putting the body on the line in this way, the artist was able to make the viewer feel connected with the body, and to recognize his or her own physicality. The artist also exercised the power of selection in this exhibition, choosing the names of the performers whose performances were chosen by him, and substituting them for those whose names had appeared in the original workday. The performers names were inscribed in metal strips that lined up horizontally and were periodically removed, in a gesture that suggested a nostalgic, almost nostalgic fascination with the past.In the original workday, the names of the performers were written in the form of drawings. These drawings were also included in the exhibition. Their very existence, in the world as it exists today, is something that we could not anticipate.
Statues on the bell tower besides mountains and angelic statues that were by turns restlessly evocative and exasperatingly inappropriate, and that were by turns contrived and comically over-the-top. The other two shows featured sculptures in mixed media, which may not have been the most successful but had the best chance of succeeding. The best pieces were still the sprawling, self-conscious, and self-confident sculptures, though, and the sculptures as a whole, which had the potential to be more than simply an act of post-Minimalism.The show had a certain good-natured optimism about it: the notion that sculpture can be the vehicle for spiritual content that can be communicated in any format. But in contrast to the spirit of the work, the presentation of the objects seemed cynical and devoid of belief. For example, in the entry room, a wooden sign in a blue circle of clay was illuminated by a light bulb. There were small, carefully placed white votive offerings; in one case, a bottle was sealed with a silver cross in a glass case. Here, we are back to the self-reflexivity of the figurines in the 1980s. The works were arranged in a way that evoked a godless, faithless way of life. The current attitude is that of a contemporary artist, and it is too easy to interpret this attitude as a commentary on the mediocrity of our time. Rather, it reflects the present as a kind of post-Modernism that undermines the achievements of previous generations. It is no accident that the work of the 60s in Japan has been associated with that of the 60s in America. In this context, the works of the 70s can be seen as a reflection on the American situation. They make a point about the history of Western culture, and their presentation as a collection of personal, meaningless, or meaningless objects is perhaps the most obvious interpretation of that.
Statues on the bell tower besides mountains and angelic statues that iced up the room and, by extension, the entire exhibition, for all its apparent pleasures. (I have to admit that the smattering of tableaux with scenes from the Olmsted series in the exhibition hall got my blood in the veins, and it looked good.) The four large sculptures, on a horizontal platform, were set on pedestals, their legs painted red and their arms covered in blue and green plastic. The sculptures, ranging in size from six to eight feet tall, are in this case the result of a collaboration between the artist, Rui Sanches, and the architect, Ricardo Botella. The acrobatic behavior of the naked figures seems to have been achieved by the cast of plaster casts that Sanches has been using for several years, as opposed to the metal. The figure of the model, however, is painted in white plaster, and, as the title of the piece indicates, it is also red. The lightness of the colors evokes the classical romanticism that animates the Olmsted series. (There was also a red and white piece, which was quite nice, and a very strong blue piece, which I was able to get hold of.) The blue piece had a sense of space in it, of a narrow channel of space that could be entered by a narrow path of sticks. I liked the blue piece, but it was a little too fragile and was a little too vulnerable to be effective as a formal statement.Sanchess sculptures have always been interesting in part because they have been made by the same method as paintings—in other words, they involve the same pre-existing idea. The point is that they are not merely objects, but sculptures. What makes them especially important is that they are made from the same material as paintings are, that is, plaster. There is a key to the question of whether or not these are sculpture. The answer is probably no.
Statues on the bell tower besides mountains and angelic statues that ike a chain of Chinese charms, a dog-eared copy of a framed commercial advertisement, and a stack of paper on which various advertisements for domestic appliances have been pasted. While the last two, from the 1980s, were in fact a set of mock-ups for the real thing, the theme was the same: the individual and the social, the private and the public, and the individual and the social. In these cases, the artists drew on our collective memories of consumer products, and they consciously reworked the surfaces of these products, which are often fabricated from mass-produced materials. The videos on display were thus not the works of a consumer but the product of an anonymous actor who, like the ubiquitous (and empty) studio, makes his or her appearance in the video. The videos, however, do not simply point to the absence of any human presence; rather, they are the product of a process that is ahistorical, and, like the resurrection of art in a time of global globalization, is a temporary one.The exhibition was also an installation, with the installation, La Cosa, 2015–16, which, like the sculptures, was constructed in a room. But here, in the gallery itself, the photographs, which were taken by the artist, were printed on white paper, which was also the material used for the construction of La Cosa. The photograph was also an image, an image of a popular landscape, which is always present in the imagination of most viewers. The photographs, in turn, were taken by a professional photographer, whose model was the artist. The photographs were then transferred to white paper, which had been printed with the same materials used for the construction of La Cosa. The photographs that emerged were then hung on the wall like a photograph on a slide.The entire exhibition was a mirror image, a copy of a mirror image.
Statues on the bell tower besides mountains and angelic statues that iced the building with yellow paint and a red glow.In terms of content, the show was tightly curated and meticulously installed. But there were exceptions, such as the works of Michael Van Doren Hansen, in which the visual form of the wall can be understood as a metaphor for human sin, or the onetime force of a shotgun blast on a building, or the small, carefully placed, brightly colored drawings by Robert Longo that, in their combination of the familiar and the strange, hearken back to the birth of art.One of the more compelling pieces, and one that might well have been the highlight of the exhibition, was the extraordinary photographic installation by Paul Schneider of the young, beautiful naked bodies of the city dwellers, suddenly and unexpectedly exposed like relics in a tombs. Schneider has taken a number of photographs of New York before, but never before has he attempted such a juxtaposition of the physical aspects of city life with the symbolic aspects of human existence. The images were taken in a variety of urban settings, but the city was given a new visual dimension by the presence of the naked bodies, now hovering over it, which stood for a sort of spirit of social reform. Though the nudity of these figures is a point of no return in this city, it is no longer shocking. Its absence serves to emphasize the change that has occurred in our understanding of the body in our urban environment; it speaks of a change that has taken place much more rapidly and dramatically than we like to think. It speaks of the acceptance of new technology in our daily lives and which has resulted in the transformation of the urban space from a highly competitive arena into one of a more intimate, even private, nature.Schneiders installation is neither apologetic nor nostalgic. It is a sober and critical work that points out the new conditions that confront us as well as the ways in which we are affected by them.