Dean Kissick

  • Samara Scott, Developer, 2016, NBS BIRU algae treatment dye, scaffold netting, damp proofing membrane, dimensions variable.
    picks August 23, 2016

    Samara Scott

    In 1951, the Pleasure Garden Fountains opened in Battersea Park, London, as part of the Festival of Britain to celebrate a brighter postwar future for the country. Arranged on both sides of the Grand Vista, leading down some stairs and toward the dancing fountains, is a pair of symmetrical mirror pools, in which Samara Scott has installed her site-specific work Developer, 2016.

    In the eastern pool, which she has dyed blue, lengths of orange, yellow, and red netting are unfurled underwater and, from above, appear green and blue. Shards of white plastic sheeting are caught underneath, prevented

  • View of “Laure Prouvost: A Way to Leak, Lick, Leek,” 2016. From left: A Way to Leak, Lick, Leek, 2016; Lick in the Past, 2016.
    picks March 14, 2016

    Laure Prouvost

    The journey begins with a quartet from Laure Prouvost’s series “Exhausted Drawings,” 2015, pencil-on-paper portraits of adolescents with smoking exhaust pipes coming out of their mouths, and Exhausted Map, 2015, a plotting of Los Angeles collaged with found flyers and handwritten annotations. In the main space the floor is obscured beneath a pool of milky blue resin, into which are set cracked eggs and smashed Apple products. This installation, A Way to Leak, Lick, Leek, 2016, suggests physical spillage, but also, through its title’s homophones, a certain leakage in meaning. It evokes the

  • Hannah Weinberger, Awake, while you’re dreaming, 2015, three-channel color video projection, five-channel audio, various durations. Installation view. Photo: Vernon Price.

    Hannah Weinberger

    Entering this quixotic exhibition was like waking up as a kid in your childhood bedroom. Sunshine wafted through an open window of the vacant house in which the artist had made several subtle interventions. Sounds of cartoonish squelches, warbling songbirds, and dully thudding footsteps floated in through adjoining doorways. In one room, a disembodied voice spoke quietly of destroying a picture on the wall. But there were no pictures hung on any of the walls, only sets of speakers, and a few projectors on the wooden floors.

    Hannah Weinberger’s installation Awake, while you’re dreaming, 2015, was