Ajay Hothi

  • View of “Paul Kneale: 4 or 5 self portraits for free-form natural language descriptions of image regions,” 2015.
    picks February 06, 2015

    Paul Kneale

    At the center of Paul Kneale’s latest solo exhibition is Quantum £1 shop I–V (all works 2015). Here, ten clocks are suspended facedown above five tables. The clocks’ hands have been replaced by LED microchips, whose lights bounce off the tabletops’ reflective surfaces. Between the blinking of the LED and its embedded technologies and the reflection from the tabletop, an image (previously shot by the artist) will be transmitted, scanned, and stored for digital printing.

    A piece made in this manner hangs in one corner of the gallery. Post-post-post production Skid Row is a large print of a blurry

  • View of “Schizo-Culture: Cracks In The Street,” 2014.
    picks November 19, 2014

    “Schizo-Culture: Cracks In The Street”

    This exhibition is a major presentation of research into “Schizo-Culture: On Prisons and Madness,” the 1975 Columbia University conference where the Semiotext(e) publishing collective introduced radical French philosophy to a North American audience. The 1978 book Schizo-Culture was revised and republished earlier this year and edited by the group’s de facto leader Sylvère Lotringer and London-based writer David Morris. Extending that catalogue’s examination of the conference’s potent legacy, this display, cocurated by Morris, Paul Pieroni, and the artist Katherine Waugh, brings together extensive

  • View of “Heathers,” 2014. From left: May Hands, Guilty, (Gucci), 2014; May Hands, Endless Euphoria (Calvin Klein), 2014.
    picks October 09, 2014


    This exhibition in a small, single-room gallery displays twenty-two works by nine artists. It should feel claustrophobic, but the curation by Alex Ross is acutely balanced and simple without being too austere or overly Minimalist. Comprising a variety of mediums—digital prints on fabric, embroidered canvas hung on metal rods, painted papier-mâché, and printed sleeves inside PlayStation game cases from a series of works addressing recent, highly publicized school shootings—the works on view would give the impression of being thematically related, given its organization under a title taken from

  • View of “Korakrit Arunanondchai: 2557 (Painting with history in a room filled with men with funny names 2),” 2014.
    picks October 08, 2014

    Korakrit Arunanondchai

    A group of mannequins face the gallery’s entrance in Korakrit Arunanondchai’s debut UK exhibition and collaboration with his twin brother, Korapat, “2557 (Painting with history in a room filled with men with funny names 2).” The models are dressed in a combination of denim and sportswear, including Manchester United FC uniforms, as well as traditional Thai morhoms, and a sweatsuit the artist produced with Disown. The whole scene is covered in paint. In fact, the entire exhibition has been doused in various hues—from the canvasses on the walls to the cushions on the floor—and in the center of