Valerie Mindlin

  • Koka Ramishvili, Light Machines, 2017, digital Print on Epson Baryta Traditional, Dibond, 24 x 24 ".
    picks June 22, 2021

    Koka Ramishvili

    Born in 1956 in Tbilisi, Koka Ramishvili began his artistic career studying cinematography. This background exerts an unmistakable influence on the central concern of his photographic practice: the dichotomy of stillness and movement within an indexical impression of light.

    “Light Machines,” the title of Ramishvili’s compact solo exhibition at the Multimedia Art Museum, derives from an eponymous series of not-quite-still lifes from 2017. The artist’s careful staging of sculptural objects vaguely recalls the nature morte compositions of Brancusi and Morandi, but Ramishvili has taken the added step

  • Taisia Korotkova, “Dark Forest, (1),” (detail), 2018, black liner on tablecloth, 9' x 2“ × 21' 4”.
    picks May 19, 2021

    Taisia Korotkova

    The word stalker comes into the Russian language from the Strugatsky brothers’ 1972 sci-fi classic Roadside Picnic. In the book, the neologism refers to those who enter the forbidden zones of bygone alien visitations. These days, the term has come to mean an “explorer” or “seeker” and, more specifically, those who engage in a certain, legally dubious practice of exurban exploration: trespassing on and documenting the abandoned sites of Cold War–era top-secret paramilitary science-research facilities.

    Exhaustively chronicled on blogs and social media accounts, the results of these “stalkings”

  • David Claerbout, the “confetti” piece, 2015–2018, double-channel video projection, 3-D animation, silent, color.
    picks April 19, 2021

    David Claerbout

    The supplanting of the lens-based practices by the digital, David Claerbout proposes in his essay for the exhibition “Unseen Sound,” sealed the fate of photography’s claim to indexicality. What enters in its place, negating light-reliant media’s promise of transparency, are what Claerbout refers to as the Dark Optics—an atavistic return to a pre-photographic Dark Ages when visual culture had no purchase on objectivity or veracity. The four video works that make up the exhibition test the vagaries of that early claim as much as the dangers of its successor.

    An ambiguous pastiche of digitally

  • Tanya Akhmetgalieva, Labored breathing, 2018, watercolor on paper, 40 x 29 1/2.
    picks October 10, 2020

    Tanya Akhmetgalieva

    The blurred edges of reality form the center of Tanya Akhmetgalieva’s practice, in which weighty metaphysical issues are handled with a light, neo-Pop touch. Visitors to this exhibition, which spans the last five years of the artist’s diverse work, may draw comparisons to the environments of refracted DNA found in the novels of Jeff VanderMeer. Indeed, sci-fi tropes crop up throughout Akhmetgalieva’s paintings—from robotic arms and interspecies mutants to laser beams and Day-Glo fauna, part ’70s-era vaporware paperback cover art, part VR futurist cyborgian fantasy. Its core motifs, however,

  • Jacolby Satterwhite, Reifying Desire 3: The Immaculate Conception of Doubting Thomas, 2012, HD video, color, sound, 17 minutes 4 seconds. From the series “Reifying Desire,” 2011–14.
    picks March 26, 2017

    Jacolby Satterwhite

    Influenced in equal parts by Picasso, Disney, Bruce Nauman, and Janet Jackson, Jacolby Satterwhite’s videos take place in a domain where human self-orientation loses its social and biological distinctions. The work exhibited here, third in the six-part series “Reifying Desire,” 2011–14, is titled The Immaculate Conception of Doubting Thomas, 2012, and there isn’t a party left in it with a position of stable certainty.

    Satterwhite builds his disorienting videographic environments around drawings made by his mentally ill mother—often supplemented by over- or underlying captions and comments—that

  • Charles Avery, Untitled (Pool, Onomatopoeia Zoo), 2016, pencil, acrylic, gouache, watercolor, and ink on paper
84 x 59".
    picks February 01, 2017

    Charles Avery

    Charles Avery is an omniscient creator whose world-building is compassed with a healthy sense of humor. He lives in his own land, named Onomatopoeia, and populates it as he damn well pleases, often in a manner reminiscent of a Thomas Struth panorama—were it to be created by a petulant child. The works on display here are the latest installment of his project of twelve years and counting, The Islanders, 2005–.

    The island’s zoo is quite a big deal, apparently, and the lavish prospects of its pool, Untitled (Pool, Onomatopoeia Zoo), and piazza, Untitled (Inner Circle, Onomatopoeia Zoo) (all works

  • Petra Cortright, royal-chat—dispatchesSCANFERLA{ROM-adventures4tattoo-gun}.resx, 2016, digital painting on Sunset Hot Press rag paper, 42 x 30".
    picks November 15, 2016

    Petra Cortright

    To call Petra Cortright an internet or post-internet artist would be similar to calling Matisse and Monet paint artists. They were painters all right, but that’s not really saying much, is it? There is, in Cortright’s work, a mesmerizing core of formalism, a newly relevant medium specificity for the cognitive gluttonous distraction of the brazenly immaterial.

    “ORANGE BLOSSOM PRINCESS FUCKING BUTTERCUP,” Cortright’s first solo exhibition at this gallery’s London location, brings the manifold beguilements of her digital steamrolling into a tightly delightful showcase of canvases and flat-screen