Jian-Xing Too

  • Clément Rodzielski

    Artists like twenty-nine-year-old Clément Rodzielski, who hails from the French Southwest and went to school in Paris, may signal a new direction in France today. Their work, which employs methods on hand consistent with conceptual content, is a welcome break from the fixation on high production values and the spectacular that was rife among the previous two generations of French artists. Rodzielski’s exhibition “Grands a” (Big A’s) strikingly disarranged Cardenas Bellanger’s space with little more than ink-jet prints on paper, pre-existing offset-printed items, and MDF panels (all works Untitled

  • Bojan Šarčević

    Bojan Šarčević has made several videos, but never before has he used moving images to shake up the ground beneath his sculptural practice, which, until now, has had the peculiarity of tight, precise construction. Curved crumpled sheets of copper, a bare twig, two-plane angular forms in Plexiglas, two-plane forms in torn sheets of wood veneer, rectilinearly bent brass rods, construction paper, simple angular matboard structures, concrete fragments, and a piece of raw meat—his five arrangements of these small objects for the series “Only After Dark,” 2007, could never plausibly be presented as

  • François Morellet

    The exhibition “Blow-up 1952–2007: Quand j’étais petit je ne faisais pas grand” (When I Was Little I Didn’t Work Big) featured eleven paintings by François Morellet from 1952 and their copies, made in 2006, four times larger in height and width. The original works present flat fields of color in geometric patterns that could extend infinitely beyond the paintings; they represent Morellet’s idea of allover painting and demonstrate the importance he placed on making visible a system rather than on creating a composition. Made with industrial oil paint on plywood, the works are small (several are

  • Mathieu Briand

    “Mr. and Mrs. Briand, the bakers of the ‘accursed bread,’ have left town on a pilgrimage to Lourdes.” “These inhabitants of Pont-Saint-Esprit ate the bread. . . . Some had to be locked up in padded cells for several days.” “Mrs. Payen was the last to recover. . . . She sometimes still suffers from delirium.” A 1951 copy of Paris Match, opened to a sensationalist story on a mass poisoning by bread made from grain infected with ergot (a parasitic fungus found in rye and wheat), lay on a table in Mathieu Briand’s “Prologue” to the ten-chapter project “Ubïq: A Mental Odyssey.” Offering keys to what

  • Peter Zimmermann

    It might not be easy to see past the highly reflective surfaces of the works in Peter Zimmermann’s recent show “Reliance,” but when you do, you are pulled in by the layers and layers of color and light trapped in hardened pools of epoxy resin, each tinged by the strata above and below. Zimmermann’s paintings are stunning—and yet they look hideous in reproduction.

    Rare, of course, is the painter who fails to claim that his paintings don’t photograph well; it would be a sign of bad painting if something weren’t lost in the process. But in Zimmermann’s case, the gap between what can be painted and