Ellie Botoman

  • Ricardo Brey, Rose of Jericho (detail), 2013–14, mixed media, dimensions variable.
    picks March 22, 2019

    Ricardo Brey

    Ricardo Brey’s exhibition here, “Doble Existencia / Double Existence,” bridges the gulf between language and materials through a kind of alchemical hybridity. Installed on the gallery’s first floor is a video of gloved hands emptying out the contents of a black archival box, which calls to mind Marcel Duchamp’s portable Boîte-en-valise, 1935–40. A similar box appears upstairs in Rose of Jericho, 2013–14. The container, splayed open atop a plinth, reveals ornately wallpapered insides: one an imitation woodgrain, the other a muted pattern of baroque florals. It also features an accordion book of

  • View of “Hikaru Fujii, The Primary Fact,” 2018.
    picks September 25, 2018

    Hikaru Fujii

    For Hikaru Fujii’s first solo exhibition in the US, the ISCP resident focuses on the excavation of a mass grave in Athens from the seventh century BCE, which may be linked to the Cylonian Affair—a failed coup led by one of the city’s aristocrats, Cylon, which ultimately led to the development of Athenian democracy—through “research-choreography,” a synthesis of dance, filmmaking, and scientific research.

    The multichannel video installation The Primary Fact, 2018—from which the show takes its title—reenacts the brutal slaughter of eighty men with Greek dancers. The setting is sparse, their movements