Lillian Davies

  • Untitled Backdrop (Site of Paris Hilton Car Crash, 11/9/05), 2006
    picks February 22, 2006

    Dwayne Moser

    With the sweeping gaze of a nineteenth-century American landscape painting, Dwayne Moser’s Untitled Backdrops, 2006, see the West as a fertile frontier of fantasy and possibility. Likewise, Moser is exacting in his portrayal of particularly pregnant moments of the night and day. However, these backdrops, painted by a team of Warner Brothers professionals, are not inspired by a fanciful sublime; they are instead grounded in the tacky misbehavior of Hollywood celebrities. Each backdrop is still and empty, with visual clues and theatrical lighting that point to the specific sites where Lindsay

  • KOMAKINO, 2005.
    picks February 02, 2006

    Philippe Decrauzat

    In Philippe Decrauzat’s latest solo show, each of the young Swiss painter’s carefully manicured works glistens with a commitment to physicality; somewhat paradoxically, the vibrant colors and playful shapes hypnotize, seemingly offering an escape from the material world. KOMAKINO, 2005, an elegant wall work whose title references both a hypnotic Japanese dance and a song by Joy Division, wavers between academic abstraction and commercial design. Five drawings made on sixty-centimeter vinyl disks are placed over an elegant black-and-white frieze pattern, mobilizing youth culture to undermine the

  • Renzo Martens, still from Episode 1, 2003.
    picks January 20, 2006

    “A picture of war is not war”

    The impossible distance between the people and actions that make war and those who safely watch is summarized by this show’s title, taken from Hito Steyerl’s piece November, 2004. The work, one of a smartly selected program of six films, describes the transformation of Steyerl’s childhood friend Andrea Wolf into an icon for the PKK, the Kurdistan Workers Party. Her narrative offers an analogy for the arrival of our “post-October” period—a time when some marginalized social groups have become violent. Set in the new extremes of this restless era, Renzo Martens’s Episode 1, 2003, becomes a

  • Installation view, 2006.
    picks January 11, 2006

    Richard Long

    “The Time of Space” is installed across a stratum of rooms with the same deliberate pacing as Long’s relentless walks, bringing together new and recent photographs, notes, and ephemeral sculptures that exist as humble records of these movements and his site-specific creations. For The Time of Space, 1999, Long travelled to Mount Parnassus, Greece, and arranged a circle of stones, which he then photographed; upon his return to the site in 2002, he “dispersed” the formation, carefully noting his action on the original image. In this work, Long draws our attention to the time that links unique

  • Still from Patricia Teodorescu, Bear (Revelation), 2000.
    picks January 03, 2006

    “New Video, New Europe”

    “New Video, New Europe,” curated by Hamza Walker, offers three extensive video programs from a region that has, especially since eight Eastern European states joined the European Union in 2003, asserted its position within Western systems of commerce and communication. In the shop front windows of Arthouse, a former department store on the historic main street of Austin, Texas, a single screen, atop a pile of dusty television monitors, loops Anna Niesterowicz’s Beaver, 2001, a video of a woman’s legs as she boldly removes her underwear. Inside, the show immediately turns towards the mouth as a