Joanna Fiduccia

  • Red with Red 1, 2007, oil on canvas, 66 1/2 x 98 3/4".
    picks June 23, 2008

    Bridget Riley

    This chronological retrospective begins with studies of Seurat and ends with evocations of Matisse. Yet thirty intervening years of Bridget Riley’s Op-art virtuosity can hardly be tamed by the show’s staid structure. On the contrary: Its methodological organization complements Op art’s impression of scientific precision, while each individual painting seethes with optical diabolism. By systematically painting shapes or lines across the surface, Riley has made the picture plane appear to shimmer, ripple, and vertiginously warp from the wall. Her work, and Riley as the fashionable figure behind

  • View of “Légèrement manipulés.”
    picks June 02, 2008

    Jimmy Robert

    Jimmy Robert’s artworks are liable to attract a whole range of catchall terms for contemporary art: They are performative, yet object-based; cinematic, yet haptic. In this exhibition, ink-jet prints, film and video, MDF boards, and A4-size sheets of white paper manage to make all these descriptors strangely happy consorts. Boards and blank sheets divide and chart the space, functioning not only as makeshift walls and supports but also as compositional elements in their own right. But rather than obscure or modify the standardized format of these elements, Robert embraces their standardization

  • For how much you believe in something that you don't believe in (detail), 2008, wood, metal, and broom, 15' 9“ x 5' 10 3/4” x 31 1/2".
    picks April 23, 2008

    David Renggli

    Swiss artist David Renggli’s exhibition opens with the great good Swissness of a striking oversize radiator that is rather less concerned with representation than with wryly replicating motifs of Swiss abstraction. If one can see past the Op art–like effect of its grille, all other airs of realism quickly evaporate in the large gap left between the radiator and its pipes and, farther along, the whimsical slipknot in its pipeline. This is exacting and juvenile humor, like that of compatriots Fischli & Weiss, used here to undercut third-generation Swiss abstractionists (such as Renggli’s contemporary

  • View of “I/you grit my/your teeth,” Atelier Cardenas Bellanger, Paris, 2008. From left: Claudia Wieser, untitled, 2008; Amy Granat, Wonderwheat #2 and Wonderwheat #3, both 2007.
    picks April 10, 2008

    “I/you grit my/your teeth”

    From the street, the gallery seems to enclose a massive theater of coppers and blacks—a vastness that turns obliquely oppressive on entering. This shift is the first of many inversions in this unlikely group show, in which the formal dialogue between divergent practices is nuanced in a way that a more plausible group would probably bungle. The principal wall of the gallery hosts Mandla Reuter’s architectural intervention. He has plastered the partition with posters in absolute black, the maximum saturation of color for a printed surface. With the extraneous intelligibility of a billboard seen

  • View of “Padova.” On floor: Padova (réplique nº4) (Padova [replica no. 4]), 2008. On wall, from left: Mystery Board no. 5, 2008; Mystery Board no. 4, 2008; Mystery Board no. 3, 2007; Mystery Board no. 2, 2007; Mystery Board no. 1, 2006;  Changer en île (Change into an Island), 2005.
    picks March 27, 2008

    Raphaël Zarka

    Raphaël Zarka’s name has been cropping up everywhere since the appropriated footage of “Riding Modern Art,” 2005, which depicts skateboarders gliding across civic architecture, astutely gratified both popular nostalgia for modernism and the fashionable coveting of subculture shenanigans. The new works in this exhibition, then, can be seen as the maneuvering of a young artist as eager to show an interest beyond skateboarding as he is cautious of bumming out the audience such work brought him. While the title of his first solo show in Paris, “Padova,” doesn’t exactly evoke “backside smith grinds,”

  • View of “Sas” (Portal). Foreground to background: Love Lights (chaînes), Your Private Sky 2 (bâches), and Scalp Boréal (suspensions), all 2008.
    picks February 26, 2008

    Pierre Vadi

    Pierre Vadi’s installations could be described as futuristic art: “voyages through a strange universe,” as the press release promises, conveyed by scattered sediment and synthetic media. His current exhibition, however, is more a twenty-first-century rendition of a Neoclassical grotto, as a revival of already-mannered representations of wilderness and the unknown. Vadi has transformed the underground galleries of the Crédac into a series of dens that offer both private recesses and ornate mise-en-scènes. In the first room, an archipelago of sugar mounds leads to an enclave of hanging crystals

  • De Grote Boodschap, 2007, single-channel color video with sound, 27 minutes.
    picks February 19, 2008

    Omer Fast

    Omer Fast’s video art foils the shrill affect of most political art by counterintuitively plunging into politics’ most freighted zones, from Israeli tank duty to World War II ghettos. Yet Fast seems to eschew his own precedent of experimental montage and fiction-laced documentary with his newest work, De Grote Boodschap (The Great Message), 2007, the fictional faits divers of a Belgian apartment building. This looped twenty-seven-minute video drifts between the narratives of four couples: a stewardess and her husband; an old woman with an appetite for buttons, trinkets, and prescription meds