In tandem with political and social issues, much of the pace and sequence of STOP evokes narrative associations. At a consistent tempo, the artist brings viewers in and out of cinematic standards, as tonal shifts or narrative developments that are the result of the semi-random compositional framework point toward something more intentional
In a soccer game, the ball puts all elements into relation with one another; it triggers laws and actions around it that become meaningful only when played.1 Similarly, the elements in Beatriz Olabarrieta’s multimedia installations exist only in relation with the whole. Perhaps influenced by her early involvement in the tradition of “poor theater,” her productions materialize not as static objects, but as sequences in which the works perform unrevealed scripts.
The highly successful choice of Pierre Huyghe showed a masterful command of an enigmatic and circular cinematic narrative—as suggested by the title—capable of re-signifying well-known masterpieces (I am thinking in particular of Paul Chan’s works on display) with subtle touches, of using spaces and connotations in surprising ways, of whispering instead of proclaiming.
In the decade since the death of U.S. artist Dash Snow, his work has taken on a new language—or at least a new relevancy through the language always present in it.
In Frantz’s pictorial universe the categorical imperative of the dynamization of form reigns supreme, to the point of achieving a completely activated visuality, an evocation of optical movement through the mobilization of specific pictorial techniques. This is what is meant by “switched-on painting,” the artist’s own apt designation for what he is doing with his preferred medium.