new-york

Jean Dupuy

Sonnabend Gallery

In Jean Dupuy’s work, nominally of “technological persuasion,” it is the literary and poetical obliquity which is inflected. Were it not for the curious narcissistic infra-references and wry humor of his work I would tend to think of it as no more arresting than any other technologically oriented art, an art of the kind to which I generally have long been indifferent. Like many, I feel that if it moves it probably can’t be art. Perhaps movies are not subject to this injunction, for even in movies the format of the projected image remains constant. Moreover, there is a stillness in the larger effects of much of Dupuy’s work which belies the complex hidden arrangements that make his lyrical allusions possible.

Perhaps the oddest work is a booth into which the visitor installs himself, placing within his ear an otoscope attached to a circular optical system that, when peered through, enlarges

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