Critics’ Picks

View of “Andrzej Zieliński: Open Sourced,” 2015–16.

Overland Park

Andrzej Zieliński

Nerman Museum of Contemporary Art
12345 College Boulevard Johnson County Community College
October 15–March 20

Andrzej Zieliński’s totemic paintings and sculptures mostly elide the pitfalls of a slew of recent work glorifying the kitsch vestiges of tech’s recent past, and instead imbue their subjects with a psychic (and literal) weight. In “Open Sourced,” two galleries—one with paintings depicting Mars rovers and the other filled with (earlier) canvases of technological devices just past their moment of ubiquity and soon to be scrapped, such as paper shredders, scanners, early aughts laptops—accompany a standout array of sculptures. Loosely modeled after desktops, Razr phones, and boxy keyboards, the sculptures display a subtler virtuosity than the artist’s effervescently facile paintings; the three-dimensional forms are seemingly haphazardly formed but in fact meticulously crafted from hewn rock, cast and welded bronze, sculpted marble, alabaster, and a variety of specialty woods. (While the paintings will be taken down on January 17, Zielinski’s sculptures are on view through March 20.)

As objects’ windows of utility grow ever narrower amid constant updates and overhauls, a gray zone has emerged for apparatuses that are still kind of useful—the Blackberries, dongles, and mice no longer in daily rotation, which fill our bottom drawers and closets until we toss them in a burst of KonMari purging. For the moment they linger, subsumed in what Walter Benjamin described as the utopian glow afforded to technological devices in their final hours, freed from the constraints of commodity value—at leisure and ready to have their portraits taken.