TABLE OF CONTENTS

Catherine Millet

TOP TABLES

It’s a long way from Paris to Glasgow, but I was motivated to make the trip last spring when ELISABETH BALLET—one of the best artists of her generation, capable of giving new form to modernity’s old ones without resorting to kitsch or social reportage—appeared in the group show “Sugar Hiccup” at Tramway. Ballet’s installation consisted mainly of a circle made of wooden planks and rimmed in neon, a parallelepiped in smoky Plexiglas, and a set of three metallic structures resembling tables with many legs and lacking tops. To connect these elements, arranged a good distance apart in the vast space, Ballet resourcefully covered the ground with a layer of salt. Bathed in the already milky light diffused by the window, the effect was an incredibly dense, ambient space, where the deceptively simple sculptures stood out as “voids.” Imagine the principle of Picasso’s sculptures—negative

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW at the special holiday rate of $45 a year—70% off the newsstand price. You’ll receive the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.