Gabriel H. Sanchez

  • Lele Saveri, The Newsstand, 2013–14, mixed-media installation, dimensions variable.
    picks January 15, 2016

    “Ocean of Images: New Photography 2015”

    “Ocean of Images: New Photography 2015,” featuring the work of nineteen artists and artist collectives, invades sundry realms outside of the strictly photographic, such as sculpture, installation, and performance. The exhibition places a strong emphasis on the networks of communication that connect us all, while highlighting themes of image ownership, branding, and visual syntax.

    Using tactics that feel satirical but border on the freakily earnest is DIS, whose installation Related by Contour, 2015, exists as an enormous stock image of a “multiculti” family, plastered to the gallery wall and

  • Gabriel Sierra, Untitled (o(op(ope(open)pen)en)n), 2015, MDF and burlap, dimensions variable. Installation view, SculptureCenter, New York. Photo: Kyle Knodell.
    interviews October 01, 2015

    Gabriel Sierra

    Gabriel Sierra is a Colombian-born artist whose site-specific installations and performances aim to create environmental “intrusions” within space. “Numbers in a Room,” a solo exhibition of his work, is on view at SculptureCenter in New York from September 20, 2015, through January 4, 2016. He will also have a solo show at the Kunsthalle Zurich from November 21, 2015, through February 7, 2016.

    I’VE BECOME OBSESSED with how we experience the present. For example, I can’t help but think of how this interview is happening in real time, for something that will be transcribed and read at a later date

  • View of “Lucas Samaras: Album 2,” 2015.
    picks May 08, 2015

    Lucas Samaras

    Written in a small, clinical typeface near the gallery entrance are the words “Start Here,” which introduce seven hundred digitally manipulated photographs by Lucas Samaras, collectively titled XYZ 1550 - PLACEBO 97, 2015. From there, a biographical narrative unfurls, which finds Samaras revisiting his family photo album in a manner that recalls his early Polaroid manipulations of the 1960s and ’70s. In the room’s center stands Doorway, 1966 (constructed 2007), a monumental mirrored cube that reflects the gallery’s contents and greets visitors with their unavoidable reflections. Despite the

  • Benoit Aquin, Exclusion Zone, 2013, ink-jet print, 41 x 60".
    picks April 17, 2015

    Benoit Aquin

    On the evening of July 5, 2013, a freight train carrying two million gallons of crude oil escaped from its overnight resting station, and after traveling unguided for seven miles, it derailed at the town center of Lac-Mégantic in Quebec. Forty-seven locals, some sleeping comfortably, unaware in their homes, tragically lost their lives in what would become the deadliest non-passenger train derailment in Canadian history.

    That same night, photographer Benoit Aquin traveled to the site and began documenting the aftermath. Despite the ensuing chaos, his pictures, which are now on view at the Montreal

  • Philip-Lorca diCorcia,  Cain and Abel, 2013, ink-jet print, 39 1/2 x 49".
    interviews March 27, 2015

    Philip-Lorca diCorcia

    Philip-Lorca diCorcia is a celebrated American photographer whose well-known images blur the distinctions between documentary and staged tableaux. Here, diCorcia discusses his ongoing project “East of Eden,” 2008—, a series of fictional scenarios dealing with disenchantment and loss that will be on view at David Zwirner in New York from April 2 to May 2, 2015, and he offers his own perspective on the ever-shifting climate of contemporary photography.

    I WAS STUCK IN A RUT AS A YOUNG ADULT. Not even of age—and I think I had been drafted already for the Vietnam War, since I was kicked out of high

  • Alec Soth, Lil’ Jay J and the Spiritual Boys. Rochester, New York, 2015, black-and-white photograph, 30 x 40".
    interviews January 27, 2015

    Alec Soth

    Alec Soth’s photographs capture an intimate vision of contemporary Americana. He begins 2015 with the release of Songbook (2015), now available from MACK, as well as accompanying exhibitions this winter and spring, beginning with Sean Kelly Gallery in New York, followed by Fraenkel Gallery in San Francisco, Weinstein Gallery in Minneapolis, and Loock Galerie in Berlin. Here, he discusses the making of Songbook and its relationship to the music industry. His latest New York exhibition runs January 30 to March 14, 2015.

    MY LAST PROJECT, Broken Manual, was about the desire to disengage from society

  • Timur Si-Qin, Premier Machinic Funerary: Prologue, 2014, 3-D-printed bones, Plexiglas vitrines, tension fabric display, flowers.
    interviews September 09, 2014

    Timur Si-Qin

    In Timur Si-Qin’s recent work, commercial and stock photography, as well as displays like those often found in malls and stores, are presented as biological relics. The first part—aptly titled “Part One”—of the Berlin-based artist’s series “Premier Machinic Funerary,” 2014–, is featured in the latest edition of the Taipei Biennial, curated by Nicolas Bourriaud and on view at the Taipei Fine Arts Museum from September 13, 2014 through January 4, 2015.

    “PREMIER MACHINIC FUNERARY” is made up of installations that resemble a form of hypercommercial ancestor worship. Essentially, they are funeral

  • View of “Slip,” 2014.
    picks July 14, 2014


    “Slip” acts as a sort of pharmaceutical downer, sedating our immediate realities into a meditative blur. Brock Enright’s Secret 3 (all works cited 2014) exists as a pair of immaculate Dorito chips sheathed in gold leaf and accompanied by three equally luminous Doritos “flavors.” Here, snack-food banality is sculpturally propelled into extraordinary circumstances, gratifying the most fantastical potential of an otherwise lackluster commodity. A corpse of an actual house cat is installed on the rear wall of the gallery—appearing curiously tranquil despite its gaping stomach cavity and grotesque

  • Jon Rafman, Still Life (Betamale), 2013, HD video, color, sound, 4 minutes 54 seconds.
    interviews July 03, 2014

    Jon Rafman

    Jon Rafman is a Canadian artist whose work explores shifting boundaries between the virtual and the real while acknowledging fading distinctions between the two. Here, he discusses his recent work and debut solo exhibition in an American museum. “Jon Rafman: The end of the end of the end” is on view at the Contemporary Art Museum St. Louis from June 27 to August 10, 2014.

    I BEGAN TO KNOW the fighting game community of New York while I was doing interviews for my 2011 film Codes of Honor, which is about a lone gamer recounting his past experiences in professional gaming. That work generally deals

  • Paulette Phillips, The Floating House, 2002, 16 mm, color, sound, time TK.
    picks May 06, 2014

    “Home Sweet Home: À propos de l'inquiétude”

    For the inaugural exhibition at this space, curators Olivia Boudreau and France Choinière have assembled a selection of photographs, films, and a site-specific installation that posit the concept of “home” as a place of impossible equilibrium, a space that balances precisely between comfort and catastrophe. Among works by its twenty-seven exhibiting artists, the psychosomatic provisos for residential living are at times as enchanting as they are traumatic.

    Joseph Ismail’s video Beyond the Pleasure Principle / High Wire, 2010, depicts the artist balancing upon the hind legs of a dining room chair,

  • View of “Thousand Year Old Child,” 2014. Background: Glen Baldridge, I cannot lie, 2012. Foreground: Ian Cooper, Missing (briefs), 2014.
    picks April 23, 2014

    “Thousand Year Old Child”

    A thousand years later, the eponymous child evoked by this group show has apparently not learned any manners. Participating artists Glen Baldridge, Ian Cooper, and David Kennedy Cutler present an exhibition that personifies our unwavering pursuit of eternal youth—that crown jewel of vivacity we feverishly crave (as evidenced by today’s abundant health-food supplements, probiotic treatments, and quick over-the-counter cures). Astutely, the twenty-eight works on view—sculptures, prints, and installations—have all anticipated the dystrophic consequences of pursuing the unobtainable.

    As if this child

  • Laurie Simmons, Blonde/Pink Dress/Green Room/Close-Up, 2014, pigment print, 28 3/4 x 21 1/4".
    picks April 18, 2014

    Laurie Simmons

    If Laurie Simmons’s early works from the late 1970s function as a microcosm of repressed societal woes, many depicting miniature figurines of apprehensively posed housewives, she has today a poignant commonality in Japanese cosplay. A subculture of “costume play” known as Kigurumi, the hobby brings together men and women who prefer to socialize while dressed as their favorite Anime characters. They are depicted here in thirteen photographs as physical apparitions of Simmons’s previous dollhouse muses.

    Simmons here equates “Dollers” with our own personal experiences with social media—in which the