Klea Charitou

  • Jannis Varelas, Mother of Fools, 2019, mixed media on canvas, 98 3⁄8 × 82 5⁄8".

    Jannis Varelas

    The anima, according to Carl Jung, is the manifestation of the female archetype in the male. This gender-bending concept lent an apt title to Jannis Varelas’s solo show “Anima I,” with its zeitgeist-laden examination of personal identity, gender, and sexuality. In ancient Greece, such themes carried different resonances—we think of the sexual superfluity of Pan, the universal acceptance of homosexuality, or the beneficial wisdom of the transgender soothsayer Tiresias. Varelas initiated us into a similar realm, one of prodigious imagination and joyful curiosity in psychohistory.

    A series of

  • Ellen Gallagher, Watery Ecstatic, 2018, watercolor, oil, pencil, varnish, and cut paper on paper, 90 1⁄8 × 50 1⁄8".

    Ellen Gallagher

    What remains so shocking about the connection of the sea with slavery? And why is it that certain historical truths are expeditiously forgotten only to resurface years later with the rolling waves of time? Ellen Gallagher’s work sparks such questions, and their evident gravity lends weight to her art’s subtle beauty.

    The opening room of her first solo show in Paris featured the black tetraptych Negroes Battling in a Cave, 2016, titled after a racist comment discovered beneath the surface of Kazimir Malevich’s Black Square, 1915. The piece hung opposite the predominantly white Watery Ecstatic (RA

  • Andreas Angelidakis, DEMOS Pink, 2018, foam, vinyl, twenty parts. Installation view. From the series “Demos,” 2016–.

    Andreas Angelidakis

    They say that you can understand a city’s economic status by examining its building activity. After a decade of crisis, dumpsters, with their characteristic yellow marks signifying construction, have recently begun to reappear on the streets of Athens. Has the city finally crawled, exhausted, to the other side?

    Andreas Angelidakis, who trained as an architect even if he never practiced that profession, has always been a sensitive observer of the money-spinning and psychosocial layers of the city. In his recent exhibition “A Submissive Acknowledgment of Powerlessness,” Simple Tricks to Look Better

  • Manolis D. Lemos, Feelings (Columns), 2019, galvanized steel, marble, dimensions variable.
    picks July 09, 2019

    Manolis D. Lemos

    Made in collaboration with theoretical computer scientist and MIT professor Constantinos Daskalakis, Manolis D. Lemos’s digitally enhanced abstractions oscillate between various affective states, attempting to imprint emotion and gesture through an algorithm. For this show, titled “Feelings,” Lemos created approximately one thousand drawings that Daskalakis (the two are cousins) and his research team fed into a computer until its pattern-recognition technology (or deep neural network) acquired the ability to imitate and even surpass the hand of the artist. The resulting series of paintings—unfettered,

  • Liliane Lijn, Woman of War, 1986, Painted steel and aluminum, synthetic fibers, glass prism, aluminum mesh, audio system, 5-milliwatt helium laser, smoke machine, computer, 9 x 7 1/2 x 3 1/5'.
    picks December 06, 2018

    Liliane Lijn

    Nearly fifty feverous drawings crowded with body parts and biomorphic motifs, made between 1984 and 1994, hang in this gallery’s antechamber and serve as a premonition for what lies beyond. In the main room, footsteps trigger the whirring of a motor. Behind a vast entrance that evokes a tholos tomb, one sees Liliane Lijn’s almost nine-foot-tall totem: Woman of War, 1986. The figure, unmistakably female in the cave-like space, unfurls her yellow and black wings in a gesture of warning. Mist emerges from the dry ice at the base of the statue, freezing beams of red lasers. We hear a woman’s chanting