Daniel Quiles

  • Tom Humphreys, A4 Coffin, 2012, pastel, charcoal, and acrylic on paper, aluminum, wood, glass, 48 1/2 × 34 1/2 × 3".

    Tom Humphreys

    At first glance, the six ceramic tile grids in Tom Humphreys’s exhibition “Tours”—all Untitled, 2014—looked like a return to the sort of 1980s postmodernism that superimposed contradictory styles. Each industrially produced tile was fired twice: first with an earthenware ceramic glaze, at roughly 1,100 degrees Fahrenheit, and again at about 900 degrees, after a ceramic photographic transfer. The initial coat of glaze was applied either with hands or a cloth, sometimes liberally, resulting in complex imperfections such as minute spatters of black metallic globules. Before the second

  • Karthik Pandian, A cherry table with a walnut brain, 2014, cherrywood, walnut, 70 x 32 5/8 x 30".

    Karthik Pandian

    In life after life 1 (all works 2014), a silent, color 16-mm film that is Karthik Pandian’s first collaboration with Paige K. Johnston, fair-skinned arms hold a series of fruits and vegetables before the camera: cucumber, eggplant, mango, pineapple, tomato, walnut, and so on. While some are simply proffered for observation, others appear to be tested: squeezed or snapped, to bend or break. Still others, previously vivisected, are opened; our gazes linger on the innards. The setting is nondescript, a seemingly neutral studio space, with light entering from the right. The film oscillates between

  • Renata Har, Submarine, 2012, drypoint print and oil pastel on paper, 8 1/4 x 11 3/4".

    Renata Har

    Renata Har’s Podium, 2014, consists of a found section of green cardboard wallpaper that was damaged in a Berlin apartment fire and left in the street. Nailed to the wall, this tattered object clearly shows smoke damage on its bottom edge, which is folded up slightly, forming a precarious shelf for a pile of black glitter. But rather than sparkling, the glitter seems matted together, almost slimy, like wet ash. In the gallery, it has gradually accumulated on the floor below. In counterpoint to this fragile hanging object, In the Tall Grass Crickets Sing, 2012, offers a similarly folded and

  • Lygia Clark, The Inside Is the Outside, 1963, stainless steel, 16 x 17 1/2 x 14 3/4".

    “Lygia Clark: The Abandonment of Art, 1948–1988”

    Now regarded as one of the postwar era’s most important artists, Lygia Clark produced a generative body of abstract painting in the 1950s, reinvented sculpture with her participatory objects of the ’60s, and later devised an altogether unique mode of ritualistic, collective quasi therapy. This long-overdue retrospective, the largest such presentation of Clark’s work in North America to date, will encompass some three hundred objects drawn from the Brazilian artist’s four-decade career. The crucial question will be how MoMA treats the legendary “Bichos

  • Quisqueya Henríquez, Familiar Things, 2012, acrylic paint on ink-jet print, 27 x 27". From “Beyond the Supersquare.”

    “Beyond the Supersquare”

    This exhibition—derived from a 2011 Bronx Museum symposium and accompanying volume of the same name—takes Lucio Costa’s idealized dwelling unit in Brasília, the superquadra, as a jumping-off point to explore the ways in which contemporary artists have addressed the contested legacy of Latin American and Caribbean architectural modernism. Twenty-plus artists contribute more than sixty works in diverse media—ranging from quasi-architectural interventions (Los Carpinteros) to incisive social critique (Daniela Ortiz and Alexander Apóstol)

  • Jef Geys, Esmeralda, 1970, ink, colored pencil, black-and-white C-print, offset print, 26 x 17 5/8". From the series “Passeports de vaches” (Cow Passports), 1965–.

    Jef Geys

    Twenty-one black-and-white photographs of cows, arranged in a vertical grid seven high and three across, adorn the front page of the special edition of KEMPENS Informatieblad (KEMPENS Information Journal)—a sort of personal newspaper named for the Belgian Campine region in which Jef Geys lives—published for his exhibition at Air de Paris. They correspond to the new entries in his series “Passeports de vaches”(Cow Passports), 1965–, arranged in the show in a different, horizontally oriented grid. Based on actual documents that Geys first saw in the Belgian countryside nearly fifty years

  • Stephen Willats, In the Beginning, 2011, mixed media. Installation view.

    Stephen Willats

    Stephen Willats's Super 8 film A Progression of Signs, one component of his mixed-media work In the Beginning, 2011, recalls Hollis Frampton’s Zorns Lemma, 1970. In both films, shots of public space click by in a steady rhythm: street signs, homemade posters, advertising, litter. Frampton gives each of his New York sites a linguistic equivalent, decontextualizing and ordering it as a letter of the alphabet. In contrast, the images in A Progression of Signs remain part and parcel of Lewisham, the London neighborhood in which they were filmed. A newly married couple recorded the footage in the

  • Duncan Hannah, Isabelle, 2010, oil on canvas, 9 7/8 x 9 7/8".

    Duncan Hannah

    In his book Retromania: Pop Culture’s Addiction to Its Own Past (2011), Simon Reynolds unpacks a less-discussed register of the Sex Pistols’ legendary exhortation “No Future.” In addition to its apocalyptic disregard for what was to come, Reynolds argues, punk valorized an outmoded past—the sound and fashion of 1950s American rock ’n’ roll—in opposition to hippie counterculture. Punk’s retrospective gaze figured in the interplay between past and present in “Duncan Hannah: Paris,” a sampling of the artist’s recent drawings, paintings, and collages, along with film clips and copies of

  • Luiza Baldan, Pinturinhas (Tiny Paintings), 2009–12, ink jet on paper, 33 1/2 x 43". From “Cruzamentos: Contemporary Art in Brazil.”

    Cruzamentos: Contemporary Art in Brazil”

    With the Neo-concrete generation of the 1960s and ’70s now canonized, international attention has turned to Brazilian artists born during that heyday, for whom this past is now tradition and whose production takes up neo-Conceptualism’s many guises. “Cruzamentos” (“crossings” in Portuguese) will offer a broad sampling of works made in the past decade by thirty-four midcareer artists and several collectives. The late Alair Gomes’s photographs from the ’70s are the exception that serves as a bridge between past and present—locating

  • View of “Artie Vierkant,” 2013. Left: Detachable Storage Rack for a Metallic Structure 1 (Exploit), 2013. Right: Air Filter and Method of Constructing Same 6, Six Screen Ascending Blue (Exploit), 2013. (Image modified by artist.)

    Artie Vierkant

    The black square, once the triumphant “zero degree” of modern form, is now a screen—a window screen, to be exact. For “US 6318569 B1, US 8118919 B1; (Exploits),” his first solo exhibition in Paris, New Yorker Artie Vierkant secured licenses to fabricate seventy-five units of each of two United States patents—versions that adhere to the inventors’ guidelines within an established range of deviation. US 6318569 B1, Detachable Storage Rack for a Metallic Structure, is currently licensed as a commercial product: Magnarack, a spice rack that adheres to metal refrigerator doors via rare-earth

  • Horacio Zabala, 300 metros de cinta negra para enlutar una plaza pública (300 Meters of Black Plastic to Swathe a Public Square in Mourning), 1972, mixed media, dimensions variable. From “Arte de Sistemas: El CAYC y el proyecto de un nuevo arte regional, 1969–1977” (Systems Art: CAYC and the Project of a New Regional Art).

    “Arte de Sistemas”

    The elephant in the room at Espacio de Arte-Fundación OSDE this past summer was diminutive, almost invisible: a photocopy of a telegram, nestled in a vitrine filled with ephemera from the 1977 São Paulo Bienal. The Buenos Aires–based Centro de Arte y Comunicación (CAYC), directed by founder Jorge Glusberg, won the Bienal’s top honor, the Gran Premio Itamaraty, that year with its “Group of Thirteen” Conceptual artists, who first organized in 1971 and repeatedly showed together during the first half of that decade. The telegram offers “most hearty congratulations” on the prize, which “reiterates

  • Alice Aycock, Project Entitled “The City of the Walls: A Narrow City, a Thin City . . .”, 1978, pencil on vellum, 42 x 72 1/2".

    Alice Aycock

    Alice Aycock’s eleven drawings for Project Entitled “The Beginnings of a Complex . . .” (For Documenta), 1977, marked a subtle yet profound shift in her art. A series of architectural plans for her contribution to that year’s Documenta 6, in Kassel, the drawings portray five plywood structures composed of rudimentary walls, enclosures, apertures, and ladders—a more or less straightforward scheme. Yet when it came to translating these renderings into real space, there were differences: Two structures were built as planned, two were reimagined, a fifth was not built at all, and the complex