Reinhard Onnasch Ausstellungen
It is surely on a boundary between annoyance (for the exhibitor) and the heightening of insight (of the work) that this gallery was not altogether able to accommodate Richard Serra’s works. Corner Prop and Floor Pole Prop, both 1969, and Do It, 1983, had to be installed elsewhere. The route for the curious led from the gallery to the warehouse of the Bergemann shipping firm, where, with no attempt to refine the atmosphere of the space, these works were displayed. The Berlin Wall lies in the immediate vicinity, causing one to think somewhat more intensely about what in Serra’s work could be “purely and simply the nature of sculpture,” as Michael Pauseback’s catalogue synopsis put it.
What does the balance of these simple volumes which stabilize and support each other mean? And what about the constellations of mass, weight, form, and space with which the workaday world confronts us in countless
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