• Oppenheimer (still from a color digital video projection), 2003.

    Oppenheimer (still from a color digital video projection), 2003.

    Iñigo Manglano-Ovalle

    CaixaForum Barcelona
    Av. Francesc Ferrer i Guàrdia, 6-8
    May 9–July 27, 2003

    One of Madrid-born artist Iñigo Manglano-Ovalle’s greatest successes was his least noticeable—his design of the Whitney Museum of American Art’s 2001 Mies van der Rohe exhibition. His contribution made sense, since the artist continually reframes the legacy of midcentury modernism’s themes of science, industry, and globalism in such pieces as Le Baiser/The Kiss, 1999, a video in which the artist plays a window washer cleaning Mies’s Farnsworth House; and in Cloud Prototype No. 1, 2003, a titanium rendering of a cumulonimbus thundercloud. The latter was made using computerized machinery developed by the automotive industry, registering the impact of new technology on everyday life. Fittingly, this sixty-work show has a “science consultant” (Ivo Mesquita) but no curator.

  • The Eternal Silence of Infinite Space,1994.

    The Eternal Silence of Infinite Space,1994.

    Jonathan Lasker

    Kunstsammlung Nordrhein-Westfalen - K20
    Grabbeplatz 5
    September 20–November 23, 2003

    Palacio de Velázquez

    June 5–September 7, 2003

    One after the other, artists of the ’80s are being rescued from postmodernism by valiant revisionist critics and curators. Unlike other damsels in distress, Jonathan Lasker refuses to drop the hankie, resolutely holding on to disjunction, preexisting systems, and the impossibility of direct expression. Reina Sofía vice-director Kevin Power takes the hint, using language as the organizing conceit for his full-scale survey of Lasker’s work. If this discourse is dated, the paintings are still here, and the show gives us the opportunity to reconsider them—not to recoup them for “beauty” but to think about their life as physical objects. (Power is joined by Robert Hobbs and Richard Milazzo in the catalogue.)