Critics’ Picks

View of Ghislaine Leung, Jay Chung & Q Takeki Maeda, Michèle Graf & Selina Grüter, Mierle Laderman Ukeles, “October 12 – November 25, 2018.” Photo: Max Reitmeier.


“October 12 – November 25, 2018”

Fri Art
Petites-Rames 22
October 13–November 25

This exhibition, featuring mostly new works by thirteen artists, questions the stability of the artwork by focusing on its tangible and metaphorical processes of circulation. Lined up in the middle of the ground-floor gallery, Ghislaine Leung’s Public Sculpture, 2018, comprises fifteen toy versions of name-brand vacuums and laundry machines, on loan from Reading Central Library, UK. Previously purchased for her Reading International commission, the objects—duplicates of existing library toys for children—have subsequently been incorporated into the Toy Library, and are thus available for both individual and exhibition loan. With Fri Art’s payment of the loan fees for this exhibition designed to circulate back to the library, Leung’s Klossowski-esque engineering challenges the stable representational status of the artwork as public good/toy/sculpture.

Jason Hirata, in lieu of exhibiting anything of his own, invited Jason Loebs to show one of his pieces, Syncopes, 2005, 2017/18, which Hirata helped produce for Loebs’s 2017 solo show at Essex Street (Loebs is no stranger to Fri Art, having exhibited solo here in 2014). Since the function of authorship is this industry’s primary currency, Hirata’s gesture speaks to the contingency of any work’s materialization in light of all that sustains it intellectually and socially. Per its title, this show casts the exhibition as a temporary node, necessarily fragmentary, within the continuous practices of artists, institutions, and visitors alike.