Desa Philippi

  • Willie Doherty

    The face of a young woman is projected onto two opposite walls of the gallery. Her eyes look straight ahead, rather than at the viewer, and her face looks familiar. The static and emblematic character of the projections, heightened by their large scale and a graininess that results from rephotographing television or video images, creates a sense of recognition irrespective of whether or not one can identify the face. In a regular rhythm words are projected onto this image, one at a time: MURDERER, RELENTLESS, MURDERER, CALCULATING, MURDERER, IMPULSIVE are flashed. On the opposite wall: VOLUNTEER,

  • Andrea Fisher

    Over the last two years, Andrea Fisher has developed a distinctive format for her wall installations, by combining Minimalist-type sculptures, always identifiable as reminiscent of, say, a “Serra” or a “Judd,” with a projected image. Past installations have focused on Minimalist practice as the consequent and final manifestation of Modernism proper, and have included images of isolated female victims of war. The subjects’ poses revealed, in their finality both as event and as image, the intimate and deeply troubling connections between social and sexual violence and the fascination with visual

  • “Shifting Focus”

    “Shifting Focus,” an exhibition of photographic work by 16 artists, neither claims to be a survey, nor in any specific way to be representative of current photography by women. What it offers instead is the opportunity to consider diverse practices that are not reducible to the common denominator of gender. Having said that, the overriding concern of the work does seem to be patterns of perception as seen in the light of sexual difference. It is the merit of this exhibition and the accompanying catalogue essay by Susan Butler to suggest and emphasize such a reading, with all the complications

  • Amikam Toren

    Despite its evident relation to Conceptual art, Amikam Toren’s work eludes categorization and stubbornly refuses to be slotted with any current artistic trend. One consistent concern of Toren’s work, the relationship between object and image, is articulated here in the ambivalent status of the iconic signs, painted in acrylic on pulped cardboard, which are attached to boxes for appliances.

    The signs themselves—a rendering of a glass for “fragile,” arrows indicating the right way up, numbers above two bars specifying the order of the boxes to be stacked—constitute a general vocabulary for handling