Mind's eye whisperer representing gold in the wounds of unobserved spaces, unconstrained by explainability.

Result #1

Here, it seems, is a series of brown-colored photographs, arranged by theme, showing the inner workings of the body, its connections and contradictions, and how they are governed by physical and psychological factors. One, for example, shows a wrinkled, swollen, and frayed neck, the other, a scarred, collapsed, and distorted breast. This show is a self-portrait of sorts, a profile of the body that is both difficult and heroic, a portrait that asks of the viewer the same kind of internalization of individual reality as does the work of art.

Result #2

Mind's eye whisperer representing gold in the wounds of unobserved spaces, unconstrained by explainability.Shown at the Zurichs Centre Pompidou, the video begins with a sequence of shots of a man lying on the floor of a small room, his hands and feet tied behind his back, his face concealed by a sheet of glass. The footage begins with a close-up of the viewer sitting on a sofa in a small room, but after a moment the camera shifts to the viewer and focuses on his body. The man appears to be dead, his blood on the floor. The camera then moves on to the viewer as he walks up and down the stairs. The camera wanders over the man as he goes up and down the stairs. One of the last shots of the video is of the viewer walking down the stairs. Shown here for the first time, the video is reminiscent of the old still photographs of the Dadaists, with the image of a still life in the studio.In another room, Shimon Attias, a former producer of Israel's Channel 2 TV station, shows an interview with the writer, photographer, and director Avi Fakha. On the screen, a projector shows the footage of the interviews, in which the writer speaks of the war that took place between the Israelis and Palestinians. In the middle of the video, the author is shown standing before the camera, his body covered with paint, his face distorted. The words: All of the dead people, all of the people who have died, all of the dead children . . . The words are repeated over and over, almost ceaselessly, over and over again.The video concludes with an image of a man lying on the floor covered with paint. The blood on his body is red.The work is as evocative of the myth of the Jewish genocide as it is of the Christian one. At the beginning of the video, a narrator states: There is no such thing as the Palestinian or the Jewish, only the human. . . .

Result #3

Mind's eye whisperer representing gold in the wounds of unobserved spaces, unconstrained by explainability. Like a dynamic dadaist, in the worst way, he segued from the catastrophic destruction of the archaeological site of Chaucer to the institutionalization of the Museum of Modern Art, where the artists work is housed. The same sense of panoramic transience pervades his postwar works. His work is not only abstract but also relational: his photographs depict a society in which art and life are not so much one but, rather, are intimately linked. Within the museum, the museum is a static, static space, an icon that holds us in check. Some, such as the photographs of the 1960s, depict massive installations of machinery that produce and consume objects; others, such as his 1969 installation, The Room, feature animals in miniature. Even though these works are never fully finished, they exist in an ever-varying state of flux. The artist continues to choose objects, taking the process of construction to the point of dissolution. But for all the risk taken, the work always finds a new form, a place in which the cultural and historical moments it commemorates are never fully addressed. When the work is only partially reproduced, as in the case of his photographs of 1960s and 70s architecture, the effect is one of confusion: the juxtaposition of the three-dimensional, non-human worlds of the museum and the real world of the studio is ambiguous, as the work is never fully given up to the museum; the photos of 1960s and 70s architecture give rise to a kind of ghoulish absurdity, as the artist continually tries to reconcile his sense of the museum with the reality of his own studio.The museum is a place that we inhabit, but not an object that we inhabit. In his attempt to reconcile his sense of the museum with the reality of his studio, the artist, like the artist, struggles to reconcile his sense of the museum with the reality of his own body.

Result #4

Mind's eye whisperer representing gold in the wounds of unobserved spaces, unconstrained by explainability. In some cases the artist's incisive brushstrokes reveal the threads of his thoughts: The tear-stained-in-the-wound of the eye of a man with severe facial features, for example, can be read as a comment on the impossibility of understanding grief. In others, however, the canvas is the product of the artist's own hand, one that remains alive in the moment of realization. But the work is also an elaborate game, a game that invites interpretation and reflection, one that is enriched by the diffidence of the artist's own process.Juan Sosa is a twenty-six-year-old artist from Mexico City. His first solo museum exhibition in the US was at the Museum of Contemporary Art, Denver, this past summer. His work draws from a variety of contexts, but it is most compelling when it is situated within a single, modestly sized space. While the exhibition included several sculptural pieces, it was Sosa's most varied to date, containing more than one hundred paintings. Among them were two made from oil paint, a work titled Especial de señor (Special of the Master), 2012, and a series of drawings based on comic-book and Mexican graphic-book characters. Like the paintings, these works have been meticulously hand-carved, and Sosa makes them appear to have been fashioned from very small pieces of wood. In these works, a pattern of letters (now-dead) appears on a surface like a grimoire or a scrapbook. In one, the letters L is replaced by A, and in the other by O. In these, Sosa also uses the letter I as a key, suggesting that language is both a means and an end. But the letter is not the only symbol in the drawings. In a sketch, Sosa draws a circle that looks like a cross in the distance, suggesting a point of commitment and a fortitude, as well as a point of disunity.

Result #5

Mind's eye whisperer representing gold in the wounds of unobserved spaces, unconstrained by explainability. The painters gestures convey a momentary, nonchalant state of suspension and of evasion, a momentary moment of incredulousness. Theyre that rarer of things: a face whose only real emotion is fury. Nothing you can say, said the man.You wouldnt care to. Go ahead and say so. . . . Youre too clever. But whats that all about? Is it because youre too clever? Are you too clever? I am a smart man. As a smart man I know how to play. He goes on to ask. His question is a deft one, one that so far the answer to has been no. The message is delivered by a man who knows how to play. It is an invitation to play, an invitation to play with the mind. This is a game of mind games. We play with the mind, he explains. The mind will take it in.The question, in his mind, is the unknown. It is the unknown that is the unknown. Its a moment of confusion, of bewilderment. No matter how well you understand the truth, how well you know your mind, you still cant catch it all. At the end of his book, he concludes: At least hes been there, you can try to catch him. I mean it, hes been there. The answer to this question is no, just like you cant. He goes on to say: I dont want to hear the answer, to know if I was right or wrong. You cant know the unknown. You dont want to know what you have seen, you dont want to know where you are going. Its a dead end. You dont want to go back. If hes been there, thats where youre going. Youre going somewhere else.Its a beautiful story, but in the end it doesnt hold up. Woe betide you, you idiot. The universe doesnt offer you the truth.