Two fashion models looking at the mirror on the edge of a post-fashion-show party

Result #1

Two fashion models looking at the mirror on the edge of a post-fashion-show party, one with a huge bouquet of chrysanthemums, the other with a giant foam-leather braid, face blurred, her lips painted a sour orange. This was The Bodies of Women, 2010. Each figure was placed on a black plinth, a sign of domesticity and isolation. Their arms and legs were bound, their eyes, mouth, and breasts exposed, and they were all dressed in identical clothing: black jeans, stockings, a pair of boots, and white stockings. In the gallery office, their heads, arms, and legs were covered with black tape, and the backs of the heels were painted white. They were seated in groups of three, facing one another, their backs turned toward the viewer. The two women were wearing the same pair of boots, the same pair of chunky black slacks, and, like the rest of the ensemble, they were all on the floor, bound and gagged. The shoes were tightly laced together, the heel of one locked under the other.The two women each had a single tattoo on her right calf, as though they were about to break off the body they had just been in touch with. The gesture, which seemed to describe a parting, was repeated three times, in the three months that the exhibition was on view. To the third tattoo, a chunky pair of black slacks appeared next to the heels, where they were tied together by chains. To the third, a pair of boots, tied together by chains. To the fourth and last tattoo, a hand-lettered sign: An African mask—a representation of the body, or rather of the mask that hides it—was painted on the side of a building. On the building, above a young man in a suit, the mask was suspended on a small wood platform, almost like a piece of furniture. This piece, The Mask, 2010, was directly on the wall behind the glass.

Result #2

Two fashion models looking at the mirror on the edge of a post-fashion-show party, photographed by a model who is looking at them, stand before a mirror that faces the camera, their body reflected in a mirror below. In the same manner as the two models and the mirror, the painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. It is the reflection of a painting, a image, and the mirror reflected in it. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. It is the reflection of a painting, a image, and the reflection of it. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. It is the reflection of a painting, a image, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror. The painting in the next room is the reflection of a painting. This painting is a painting, a picture, a mirror.

Result #3

, one of them eating a French toast, another one as if to her partner, and one dressed as a burlesque version of the Princess of Wales. It was an elegant, demure and slightly eerie arrangement. I was struck, however, by one of the many flaws in the show: the absence of any clear-cut reference to the life of the real artist, which was done so subtly and inadequately by a group of unknowns. The artist was a foreigner, an artist living in Paris and working, like the real him, outside the art world. Without this info, the show would have been much more interesting.

Result #4

Two fashion models looking at the mirror on the edge of a post-fashion-show party (unlike the usual fashion models) are silhouetted against a pale blue ground in a miniature scene reminiscent of the 1994 Whitney Biennial, but in the absence of any set of rules, their poses suggest various forms of exhibitionism—and thus all the more potential for subversion.The artist had also included a personal collection of his personal artworks, including photographs and sculpture, but the inclusion of this element would have made the show more intimate and personal. A similar problem was posed by the small number of works, a few works of both sculpture and photographs, that remained on display. This lack of sculptural work, together with the fact that most of the works were not installed in the galleries, led to a sense that these pieces were merely there to be seen and admired, or more generally there for those who desired them.A difference of style between the artist and the gallery was also evident in the choice of works on paper. The street photography by Elizabeth McIntyre of the late 1960s and early 70s, and the photographs by Michael Snow of the early 70s, such as Small World (Gagarin Space Rocket to Orbit), 1982–87, were represented by large-scale prints, while the photographs by Robert Mapplethorpe, for example, were shown in the small format. The relationship of these two traditions of street photography to the images on view here was made even more apparent by the shows title, Small World (Gagarin Space Rocket to Orbit), which, together with the names of the Soviet space agency, names the first manned mission to orbit the earth. The photographs by Mapplethorpe were done with the aid of a camera; the photographs by Snow were done using a telescope, and the photographs by McIntyre were done by looking through a telescope. A few works on paper by Joseph Cornell, which were shown alongside McIntyre and Snow, also retain a sense of the street as a backdrop.

Result #5

Two fashion models looking at the mirror on the edge of a post-fashion-show party, looking into a mike, looking at a smartphone, looking at a ring.A couple of video monitors appeared to be the only places where the young man was actually on the other side of the screen. On the one hand, they made the picture look like a sketch of an actual party, but on the other, they forced it into a spectator role—even if that spectator was standing on a dresser in the corner of the room. So it looked like the most boring party ever, or, rather, one of those that are the most entertaining. In this way, the camera was used as a weapon, like the real guns. In a sense, it was a live weapon, an electronic stun gun, making the average party look like a nightmare.The video that played at the back of the room, its title, Wir fahren, aber lahm (Ain't I a liar, and so on), is a self-portrait of the artist in the black dress and black jacket that belonged to his father. The video was shown in a similar way in the back room. The boy is in a black suit with a black tie, with a gold brace on his left hand. The father, who also appeared in the video, wears a black jacket and blue tie. The boy wears a white shirt with a red tie. The father looks at his son and seems to be staring at the camera. He is wearing glasses, and the camera is visible only on the top of his head, where he holds a black book that is visible to the right. He is standing with his right hand on the book and with his left hand on the camera. The father holds a black mirror and a red flashlight. The camera is on the left of the mirror. The father holds a red book. The son holds a black mirror. The father holds a black book. The son holds a red book. The father holds a red book.