Critics’ Picks

Being There: Untitled Space 1, 2001.

Being There: Untitled Space 1, 2001.


Ori Gersht

See Below

May 22–August 26, 2002

Despite the fact that Andrew Mummery’s press release states that Ori Gersht sees football stadiums as places of ritual communion, it's hard to read his panoramic photographs of empty stadiums as celebratory works. Instead, in these exhibitions, Gersht's work appears as a measuring operation, the distance gauged being the short step from “landscape” to “territory.” In the stadium pictures on view at Andrew Mummery, no matter which team gets to dominate the pitch, the advertising surrounding the field has already won the battle for the stands. Gersht's rotating camera, registering a disorienting 540 degrees, makes for queasy viewing—each stadium lurches toward and away from the viewer like a drunk attempting the Brazilian Wave. At the Tate, the focus is on images of Israel and the Middle East, deceptively simple video pieces. Together, these two shows make a very convincing argument for Gersht's pared-down, sharp-edged practice.

At Andrew Mummery Gallery, May 22–June 29; at Tate Britain, May 25–August 26.