People carrying a nipa hut in a grassy field

Result #1

People carrying a nipa hut in a grassy field in the fields of Rohange (Tate, 1975) shows what looks like a loaf of bread, a brand of bread. The bottom half is covered in lipstick and the top half in lipstick, a really beautiful smiley face with a lipstick for a nose.But perhaps if he were to make a painting of a gun, she wouldnt be so effective. She is an arresting image of fleshy contact, the dense, taut skin of a gun, the pointed gun. Paint, too, is as sharp as a knife. It is the forceful presence of paint that will disarm a painter. She does so in so many works, that she looks as if shes been spliced with a series of images from the past, memories, or dreams that he can never find out how to deal with. Her face becomes the floor of a drawing, her lips a mattress, her penis a bullet. She has been pushed down by so many images—one could say an explosive artist who has seen too much.The best part of this show is that what is most striking about these paintings is that they do not describe fantasies. Rather they are fantasies, fantasies of images. Lévy has painted a world that is, by definition, far away. I dont mean by that the fantasy is absolute, a one-way trip. I mean it is the fantasy of an image. Yet the viewer is kept from the impossible dream by the dream.The show is called The Sculpture of Another World: The Body in the Age of Photoconceptualism. I dont know whether this means that Lévy is questioning the power of painting, or that he is exploring the possibility of making images into sculptures, or both. If the show is meant to be a departure from the paintings, the paintings in fact lead the way to the paintings, as well as to Lévilles earlier work, which was influenced by Imi Knoebel.

Result #2

People carrying a nipa hut in a grassy field in Rome, February 2004, Cassette tape on paper. From Margot and Nicosias Greifos video The Golden Needle. Photo: Asaf Joo. Philanthropists are also walking a fine line between indulgence and commitment, often on the one hand, and a threat of social change, on the other. Like the Japanese in One-Minute Intervention, 2004, the participants in Derek Jarmans video Free Maligno and Friends, 1999, and of the crowd at Richard Mack's close-up in one of his signature sets of his worst ones, no matter what their connections, their respect, they are ready to spend an entire night in a gallery as he did. In fact, this could be the only time of year that the young artists of Rosario, one of Italy's longest-standing art spaces, could be totally bare. But they have. The Pittura Bezantissima (Transmission blackout, 2001) is a kind of audiotape that, at once a spectacle and an opening gambit, avoids the destruction of the broadcast. Whereas the work of Milans Papasz, Zofia Băescu, Chiara Colombo, or Carlesimo Caro might be the last things that the recording will be able to be, at least for the time being, in the art world, where the new rules for live performance are in force, the future of art has also already arrived.An artists body is an instrument of vulnerability, writes Asaf Joo in a commentary on the most recent Film on the Future, Soundings from the Past and Future: A Critical Note. Joo is a political prisoner, in a sense, as well as a film artist and filmmaker.

Result #3

People carrying a nipa hut in a grassy field, their steed the muddy dervishes. Elan and Camille, a number of very fat and mostly Caucasian-looking women—in that order: chunky, buffered, coarse, with a head of flowing hair and nothing to stop the flow. The sounds of this group of women are recorded and played back in a single continuous loop. These sounds recur in various variations: one of the stragglers on her walkway, for example, moving along with two other joggers; one of the other girls, her companion, playing in the opposite direction as they catch up with her. Suddenly, the notes of a bell ring and the motion of a peep show switches to a slow and proud, forward motion; a girl climbing a ladder looks down as a camera zooms in on her to the left, a glimmer of sun above. As the clip fades to black, Camille, panting with an amused look, whispers, I just saw the results of a thousand perversions.Elan, a young girl, is sitting on a pavement in a park; a group of men approach her, only a foot away. Camille stands. They approach her, but she waves them off. The men quickly go on with their business, chattering through their cigarette smoke as they pass her, looking rather bored. Camille looks at her watch. She knows theyre about to leave, but she keeps the peace by waving. They go on. Eventually, the men look back at the camera and vanish. The scene seems to come to an end. The camera has been stopped. The camera is still. Elan keeps staring at her watch.The narrator of The Gentle Ones by Sir Francis Galton, who is narrator in his own voice, says, The pair are stranded on the beach. Their light switch is on. The men turn on the light. The camera zooms in on them in a panorama, then turns back on the pair.

Result #4

People carrying a nipa hut in a grassy field in Puna. A delicate, surreal, windblown blue umbrella covers an umbrella. The hike is out of bounds, an unforgettable encounter that makes one feel a palpable connection with nature. (Its difficult to walk through the jungle.) The forest in general is about 30 feet long and 30 feet wide; not only is it full of leopard skin, it has a clear-cut forest at its center. One can even see the stripes of the sky. The path through the jungle is paved with footprints and the forest floor is marked with rocks. The bottom of the walk is a gravel path, and the path is covered with plants. One cannot miss the fact that a white area is being marked on the walk by a small, undulating white fence; there is no other sign, no other indication, that this is where the boundary of the jungle meets the footpath. The only indication is that the fence was recently removed. There is no indication that the line is to be considered as an abstract boundary between the forest and the field.The line is thus a hand gesture that seems to be born of necessity: it is the line dividing the boundary and expressing the edge of the walk. The boundary is in fact a line. The line is a boundary that has been crossed, a line that shows the border. The line is the line dividing the two spaces, but it is also a boundary that articulates the entire perimeter of the field, the whole path. It becomes a boundary with an imaginary perimeter, the imaginary figure that becomes the boundary. So, the line, like a fence, marks the line that divides the field.It seems to me that it is here that the line that is suggestive of the boundary is. Here there is a border between the field and the forest. In fact, there is a small open space in the middle of the forest.

Result #5

People carrying a nipa hut in a grassy field, and on a separate rooftop near the building, made a funny joke of what seemed to be a bizarre desert-dwelling insect, which looked like a very tall palm tree.The first thing one saw when entering the gallery was a narrow, huge sheet of metal, about eight or ten feet long, cut in three at the top and top right. The metal was almost as thick as a sheet of plastic, but it was soft and rubbery. On the next wall, a row of these cast-iron niches formed a row of the niches from which one could make empty—the sort of useful spaces that would be abundant in the garden and offices, and which would be more than suitable for the many incoming artists. In this kind of landscape, the construction is an empty sign, though we might still want to find a receptacle of mystery—it is just that the objects in it are so obscure that the fragments are invisible to the spectator.On the next wall, a row of three at the top, and a row of ten across the middle, and a row of twelve across the bottom, and a row of twenty in the next, and so on, like the two-dimensional ones, another row of niches, which could be passed on the way to the first. The rest of the row is the same. Sometimes the niches are empty: a lot of soap, a soap container, a lot of paper, and a lot of green. Other times, as in the row of ten right before the one headed for the building, one finds a little table with paper cups, some boxes, some sheets of paper, some writing, some cardboard, some aluminum, and a lot of brass.A piece of a sign in the gallery told visitors to pay fifteen cents. To the credit of the gallery, it was a joke.