Critics’ Picks

View of “A Place in Two Dimensions,” 2014.

View of “A Place in Two Dimensions,” 2014.

Mexico City

“A Place in Two Dimensions”

Museo Jumex
Miguel de Cervantes Saavedra 303 Colonia Granada
November 13, 2013–April 13, 2014

For “A Place in Two Dimensions”—the inaugural exhibition at the institution’s new space—Patrick Charpenel has juxtaposed fifty works from the collection of Eugenio López Alonso with eight works by Fred Sandback. The topics that run through the exhibition bind the works in an elusive yet unwavering fashion. In Francis Alÿs’s drawings “In a Given Situation,” 2010, geometric forms and language rendered in soft colors evoke displacement and fragmentation, while Peter Fischli and David Weiss’s series “Equilibres,” 1984–86, probe issues of balance and time. Other topics that are addressed include how intentions can, surprisingly, be akin despite the “corporal condition” of the work (for example, the relationship between works such as John McCracken’s Shadow, 2002, and Rosemarie Trockel’s Untitled (What If Could Be), 1990); as well as how traces of individual existence can constitute a shared memory within their own solitude (Teresa Margolles’s Debris, 2008).

The show brings to mind the saying “life hangs by a thread.” Its acrobatic displacement of ideas and genres conveys temporality as a palpable process of spatialization–a condition evoked especially in Sandback’s work. What ultimately holds the show together is the viewers corporeal experience: each visitor is an intermittent and vital recipient of a series of phenomenological, conceptual, and figurative situations that are manifested via the artworks when posited in relationship to one another. As we circulate through the show, these brief and essential instants are triggered, allowing us to grasp our own duration between various dimensions and states.

Sandback’s architectural interventions set the hopeful pace of the exhibition, a latent and eternal rhythm that is as capable of being materialized as it is incorporeal. In real and imaginary physical spaces, the body engages in a one-on-one dialogue with the works, which, as if summoned by Sandback’s deliberate voids, epitomizes the (in)visibility of their own matter, now shifted into a shared state of being.

Translated from Spanish by Jane Brodie.