Oliver Laric’s Versions at the Hirschhorn Museum, Washington D.C.

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What do two Disney scenes have to do with Photoshoping missiles being fired? Or, for that matter, with a clearly computer-generated chair design and a white porcelain sculpture of a curiously bedecked man’s head? Ostensibly nothing, and I think that remains the case even after viewing Austrian artist Oliver Laric’s video Versions at the Hirschhorn Museum in Washington D. C. several times. The linking thread in the chain of images in Versions is the accompanying female voice. In doing so, the artist makes the point that the linking thread of many contemporary cultural products in the remix culture of today are works of just such an amalgamated sourcing.

Oliver Laric Versions 2012 from Seventeen Gallery on Vimeo.

With the utmost professionalism and authority, the voice expounds on the philosophy of images, image-making today, and copies through such examples. Perhaps surprisingly, such a theoretical topic does not become boring, and if heavy-handed, pointedly so. Just as the images are created and remixed to tell this story, the words are also largely a remix. Taking from both high and low culture, Laric quotes from Borges but also James Brown, thus mimicking the same questions of authenticity and originality that he is tackling.

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To quote the video: “It’s the real thing. Hybridize, or disappear.” On view at the Hirschhorn through October 5. More information available here.

A Redifined Existence at J. Cacciola Gallery

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The post about this show, which closed July 26, has been sitting in my drafts folder, but for lack of time rather than lack of things to say. The works of China Marks, Rick Newton, and Sally Curcio, interesting in their own right, were placed in thoughtful, playful dialogue with each other in the show A Redefined Existence at the J. Cacciola Gallery in Chelsea.

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Rick Newton’s clean-lined paintings register as normal at first, only to be belied with a touch of the surreal. The realistic rendering and precision of his painting style lends a cold edge to the combination of rationality represented by technological advanced vehicles and weapons and the irrationality of the blank background and details like the reaching claw in the painting above.

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Sally Curcio creates miniature worlds in the series on view. Her clean edges come from the re-purposing of plastic products to create cheerful, sweet worlds encased in glass bubbles. No less fantastical, and perhaps more accessible and inviting to the touch, are the sewn panels by China Marks. Marks creates scenes with characters and words that just stop just short of narrative.

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Overlaid with embroidery and different fabrics, the fabric panels recall the set up of cartoon panels but also the history of the craft of sewing and embroidery samplers. I read many of them as having a dark, slightly uneasy quality, like in the dialogue below. But open-ended as they are, it up to the viewer whether such statements are unsettling or funny.

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Review: Bernd Oppl at the Georgia Museum of Art

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Bernd Oppl, Sick Building, 2012; video (still).

A new review of mine about the quietly horror-inspired videos of Austrian artist Bernd Oppl is up on Burnaway Magazine. If you have the chance to visit the Georgia Museum of Art before September 16th, the three videos form a really interesting, only slightly unsettling, exhibition.

“Inhabited” is usually a reassuring word. The works in “Bernd Oppl: Inhabited Interiors” at the Georgia Museum of Art, however, beg the unsettling question: who, or what, is inhabiting these interiors? Three short works—FlockHotel RoomSick Building—by the Vienna-based artist are being screened in silent rotation, none of which depict a human presence. According to curator Laura Valeri, the artist considers the spaces themselves as the protagonists. Continue…