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OPENINGS: JONATHAN HOROWITZ

It is a truism nowadays that television not only brings us the world but helps fashion it as well. Think of 1998’s The Truman Show, whose protagonist is the star of a TV program without knowing it: All that he surveys—even the sky above his head—is an elaborate soundstage populated by an entire suburb of actors. The implication is that our daily existence has a made-for-television dimension to it: Life may not imitate art, but it does imitate TV.

However, pace Truman, the relation between lived experience and TV isn’t that of imitation—the traditional aesthetic relation between original and copy—it’s more like the feedback circuits of electronic media itself, a dynamic in which it becomes impossible to know precisely where reality ends and representation begins. It is within this loop that the artist Jonathan Horowitz situates many of his video installations. In Dunk

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