M.S. Dansey

  • picks February 01, 2018

    “Les Visitants”

    To what extent does sex drive determine the tone chosen for a carpet? And how much death drive is at play in the choice of a wall color? Guillermo Kuitca seems to have contemplated the unconscious inquiries that underlie interior design when he prepared this selection of works from Paris’s Fondation Cartier, translating questions of architectonic process into interrogations of the psychic terrains we inhabit. Often turning to now-classic images by artists such as Wolfgang Tillmans, Juergen Teller, Nan Goldin, and Nobuyoshi Araki—the exhibition includes a great deal of photography—Kuitca

  • picks May 07, 2017

    Hugo Aveta

    The door may well be one of the most ingenious human inventions ever. How could we envision culture—or life itself—without the image of opening and closing doors, making way or blocking passage, and, most of all, isolating ourselves? Síntomas (Symptoms), 2015, an installation by Hugo Aveta, looks to the symbolic power of the door without losing sight of its function. The severe architectural block that rises up in the back of the gallery indicates what cannot be seen. Yet, as is often the case, the very act of imposing a limit is an invitation to cross it. And so one of the eighty-four doors

  • picks October 16, 2015

    Nicanor Aráoz

    Gorno—a term derived from the words gore and porno that describes a subgenre of horror film obsessed with guts and genitalia—is useful to consider when faced with Nicanor Aráoz’s installation Glótica, 2015. Consisting of a series of eight scenes set with eroticized and mutilated plaster human figures, the piece could be understood as a vision of humanity in a time dominated by the detachment of virtual reality and overstimulation. The bodies are mounted on wooden structures that are filled with a shapeless mass of polyurethane foam and polyester resin, to which the artist has added pieces of

  • picks July 06, 2015

    Marcelo Pombo

    The past twenty-five years in Argentine art cannot be fully understood without taking into account the Centro Cultural Rojas: a makeshift art space that, though a part of the Universidad de Buenos Aires, remained proudly marginal. Marcelo Pombo was an important player in the group that emerged there and turned its back on the figure of the socially committed Latin American intellectual, concentrating instead on the intimate, decorative, and superficial. No one took that précieux extravagance as far as Pombo, whose cheap materials and handicraft gave shape to ordinary, excessive, and hard-to-categorize

  • picks May 11, 2015

    Laura Lima

    Books fly through the air and enormous bookcases twist around overhead in Laura Lima’s exhibit of her 2008 work El mago va desnudo (The Naked Magician). At first visitors might think they’re in one of those installations that make use of so many objects taken from daily life that the space is hypersaturated with bric-a-brac—nothing new there. But a magician—actually, four performers working in shifts throughout the show’s run—lives in this hodgepodge of old junk, along with clothes, makeshift beds, remains of food, and flies that hover in the stale air. The performers don’t talk with the audience

  • picks February 05, 2015

    Antonio Berni

    Bold as this may sound, the great Latin American novel may have been written by Antonio Berni, the Argentine artist awarded first prize in drawing and printmaking at the 1962 edition of the Venice Biennale. His characters Juanito Laguna, son of a metalworker, born and raised in a shantytown, and Ramona Montiel, lower-middle-class seamstress who decides to earn a living as a prostitute, are the protagonists of a narrative cycle that took the shape of paintings, collages, assemblages, and woodcuts that Berni produced between 1960 and ’77. Titled “Juanito and Ramona,” this exhibition, which was