Lillian Davies

  • Still from CELLAR DOOR—BUCKY, THE INTERGALACTIC DRAW, 2007–2008, 16mm film transfered to 35mm, 6 minutes 50 seconds. Photo: Ghosting.

    Loris Gréaud

    Granting Loris Gréaud domain over its entire exhibition space—an unprecedented opportunity for a French artist under thirty—the Palais de Tokyo will present “Cellar Door,” a show with operatic implications.

    Granting Loris Gréaud domain over its entire exhibition space—an unprecedented opportunity for a French artist under thirty—the Palais de Tokyo will present “Cellar Door,” a show with operatic implications. A libretto will integrate installations from 2001 to the present, one of which, in an act of Gréaud's signature “spatiotemporal” repositionings, will be a replication of his first major solo show at Le Plateau, Paris, in 2005. A new work—a paintball terrain where players armed with pellets of International Klein Blue are to “perform” once a day—will boast technical

  • Fan with a Cigarette, 2007, silk screen on canvas and tacks, 78 3/4 x 89 3/8".
    picks December 27, 2007

    Hedi Slimane

    Hedi Slimane approaches the sublime in this cohesive installation of image and sound, form and texture, with souvenirs from his documentation of the Klaxons’ appearance at indie-rock festival Benicassim, as well as a recent performance by Amy Winehouse. Plunging into the richness of music and performance, Slimane’s art re-creates the seductive power of a band’s live show. A glittering silver runway, illuminated by a row of bare lightbulbs, draws visitors into the otherwise darkened space. Music—ambient recordings from the Klaxons’ preshow preparations—pours forth from two speakers. Suspended

  • Chandigarh Secrétariat #1, 2007, C-print, 70 3/4 x 92".
    picks December 07, 2007

    Stéphane Couturier

    In a visually and historically rich exhibition of large-format color photographs and a film, French artist Stéphane Couturier investigates the architectural legacy of Le Corbusier in the city of Chandigarh, India. Following the partition in 1947 of the British Indian Empire into India and Pakistan, Chandigarh developed rapidly in the 1950s under the supervision of Le Corbusier, whom Jawaharlal Nehru had commissioned to lead urban planning. Couturier’s images of the city's local monuments, such as Chandigarh Secrétariat #1, 2007, and Chandigarh Haute Cour de Justice #1, 2007, as well as of

  • Le Bateau (The Boat) (detail), 2001, silver print mounted on aluminum in six parts, each 39 3/8 x 39 3/8".
    picks November 22, 2007

    Philippe Bazin

    Asked by the Dunkerque Museum of Fine Arts to respond to a painting of a bound slave by Louis XIV’s leading court painter, Hyacinthe Rigaud, French photographer Philippe Bazin launched an investigation into the construction of identity and visibility through a series of filmed interviews and photographs. Examining historical representations of Dunkerque’s population from the Comoros, an archipelago located between Madagascar and Tanzania, Bazin presents sharp close-up photographs of nineteenth-century “ethnic casts”—facial molds with exaggerated physiognomies made in the colonies in an attempt

  • Shadow Piece, 2005, still from a black-and-white digital video with sound, 30 minutes.
    picks October 31, 2007

    David Claerbout

    In this small survey, Belgian artist David Claerbout presents films that hover between the fixedness of still photography and the momentum of time-based media. His Shadow Piece, 2005, for example, is a found photograph of a modern glass-and-steel office foyer digitally merged with footage of people, clad in suits or heels, walking briskly. Yet even as the action plays out, time seems suspended, since the quality of the sunlight does not change and the shadows cast across the polished marble floor do not move. In contrast, the bands of shade beneath the concrete highway viaducts in the video The

  • Davide Balula

    Atomic clocks, first developed in 1949 in the United States, regulate universal time according to the resonance of atoms. The frequency of these fundamental particles, often of cesium or rubidium, creates a simple motion analogous to that of a sonic wave—a correlation that anticipates French artist Davide Balula’s coupling of sound and time. At the entrance to his exhibition “De la place pour le sable” (Room for Sand), Balula unhinges the standard measure of speed and duration by setting the hands of each of the twelve clocks in Les Humeurs, 2007, at dramatically different speeds. Launching a

  • Concetto 18.6 mm, 2007, copper and six bullet casings, 46 x 56 1/4 x 1".
    picks September 25, 2007

    Jochem Hendricks

    German artist Jochem Hendricks’s first solo exhibition in London betrays his deep suspicion of how society attributes material value and rewards materialistic behavior; it’s a distrust that triggers a body of aesthetically and technically diverse work. Hendricks maintains a consistent emphasis on process, undermining the authority of a finished artwork in favor of exposing the traces of its original form. On the ground floor, his ragged and spiky “Eye Drawings,” including watching Porn 1 (Eye Drawing), 1993, are the digital records of retinal movements made while looking at a particular object,

  • Schneemann (Snowman), 2007, oil on canvas, 17 3/4 x 21 5/8".
    picks September 20, 2007

    Thoralf Knobloch

    Fourteen new paintings by Berlin-based artist Thoralf Knobloch inaugurate Wilkinson Gallery’s expansive new space, engaging its dramatic dimensions and elegant proportions. Knobloch paints from photographs he has taken, certain details of which he has edited out or accentuated before carrying out the first brushstroke. Making lean compositions, he zooms in on commonplace objects, emphasizing color and perspective while leaving key indicators of location and narrative tantalizingly ambiguous. In Planke (Plank; all works 2007), Knobloch presents the inside of a small wooden rowboat with clothing

  • View of “Jean-Luc Moulène: Products of Palestine.” From left: 04 11 11  0,5 L'eau, 2004; 02 07 27 Gaufrettes au chocolat, 2002; and 03 08 11 Semoule, 2003.
    picks September 18, 2007

    Jean-Luc Moulène

    In a series of photographs shown together for the first time, Jean-Luc Moulène imports fifty-eight products made in the West Bank and Gaza Strip to this polished neoclassical gallery space in central London. Absent from global markets due to imposed sanctions, these items (olive oil, soap, lingerie, the glossy publication This Week in Palestine) are otherwise invisible to anyone outside of the isolated territories. The fifty-eight color photographs (taken between April 2002 and November 2004) are printed to uniform size and hung in a nearly unbroken line around three white rooms, as if each item

  • Untitled (Fence), 1992, conté on cotton, three parts, 71 x 52" each. Installation view.
    picks August 14, 2007

    Troy Brauntuch

    Levelling a steadfast gaze at the world around him, American artist Troy Brauntuch depicts a wrecked car from the 1992 LA riots and the mangled fuselage of Pan Am Flight 103, downed over Scotland in 1988, with the same cool detachment he employs when picturing his pet cat and stacks of pressed dress shirts. In his drawings and photographs, Brauntuch disengages from a distinct narrative and defined characters, withdrawing from the specificity of his subjects, exploring instead the space around their encounter with an audience. He establishes a visual distance, devises open and somewhat vacant

  • The Jungle in La Bayadère in London, 2003–2007, soil, tree trunks, moss, flowers, bark mulch, artificial ivy and branches, audio emitter, and fake birds, dimensions variable.
    picks July 05, 2007

    Karen Kilimnik

    A beguiling evocation of a tropical oasis, Karen Kilmnik’s installation inside this eighteenth-century row house’s greenhouselike front room is an imaginative display of collected details. The strong smell of mulch exudes from The Jungle in La Bayadère in London, 2003–2007, as the moist ground cover is laid thick beneath trees, live orchids, and rather fake-looking parrots and other “jungle bird” types. Speakers, installed above the entry door, wash the scene with sound: a delicate string piece, the climactic rumbling of a full orchestra, a lone howling wolf, birdsongs, and a chorus of crickets.

  • Left: ICA director Ekow Eshun. Right: Noa Weintraub with musician Alison Goldfrapp. (All photos: Lillian Davies)
    diary June 04, 2007

    Swingin' Sixty

    London

    By 7:30 PM Wednesday night, paparazzi lined the red carpet outside the endearingly modest front door of London’s Institute of Contemporary Arts, eager for snaps of stars from the art, fashion, television, film, and music industries participating in the ICA and Sony Ericsson’s “All Tomorrow’s Pictures” project. A celebration of the institution’s sixtieth anniversary, and an effective publicity and fund-raising stunt, fifty-nine celebs and one mere mortal—Matthew Gordon (lifted from the civilian masses by a panel of judges)—were asked to capture a “vision of tomorrow” on a K800i Cyber-shot phone