new-york

Bernar Venet

Hal Bromm Gallery

As everyone must know by now, there are artists who “simply” stopped bothering with an “art style” and present “science,” not as “science as art,” but as “thing.” I write “art style” because it is not art which is eliminated (never is art more present than when it has been done away with) but the seduction of its style. BERNAR VENET has always seemed to want to be as little the artist as possible, and in this ambition he succeeds quite well. However, in Jan van der Marck’s “Bernar Venet and the Rational Image” (Artforum, Jan, 1979), one can learn that Venet is in the process of taking “a second chance at art”—the operative word, however, being “chance,” not “art.”

Venet exhibits two pairs of black metal arcs (at least they felt like metal) with their respective measurements underneath (294.5° and 258.5’). In each pair, one of the strips is incompletely inside the other because the arcs are

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