Considering Ruggeri’s belated detour into contemporary art via fashion, it is useful to note the correspondence between the readymade and ready-to-wear in terms of the production of images in the present.
Sam Lewitt gets excited by the type of work that introduces problems into functional referential systems. His practice revels in intellectual acuity, cruising nimbly over a prickly theoretical pond while embedding a ceaseless chain of nods that he mediates by unfolding problematics of display and circulation. In DREAMBOAT DIRTBLOCK, the artist’s sixth solo show at Miguel Abreu Gallery, New York, Lewitt investigates both the fantasy of a never-built cruise ship as a diagram of forces and a model of desire associated with leisure, and sheer physical labor as carried out by an earth block press.
I’m interested in an autonomous performance, engaged with movement and space. I’m also attracted by the memory of the body that stays with the textile. Known ready-made materials meeting fleeting gesture.
Working at the intersection of sculpture, photography, and urban architecture, the German Persian artist Bettina Pousttchi bends time and space to subtly question identities or move among multiple ones. Her two new exhibitions coinciding in Berlin—at Berlinische Galerie and KINDL—offer a perfect crash course on the artist’s world. From glazed turn-of-the-century ceramic building blocks, demonstrating urbanization at a specific place and moment in time, to the enactment of colonization through global clocks, her oeuvre is timely. But does she go far enough? It seems only time—or, more precisely, clocks—can tell.
The particles of granite dust in the air mixed with the 35mm film grain transform into a shimmering, surreal surface in the burning sun. This glowing “skin” is woven all through the film, becoming darker and darker as it reappears in the extended shots of the ocean, so endless that it almost looks rendered in 3D.