• Eric Orr

    Anders Tornberg Gallery

    Turning my back to the imposing 12th-century cathedral at Lund, the first thing I caught sight of as I entered this exhibition was a “black hole,” a small rectangular aperture in a white wall that opened onto a space- and time-devouring void. Its blackness, surfaceless though velvety, at once oceanic and absolute, effaced the strong sense of historical continuity that I had had only a minute earlier. Disoriented, I caught sight of a flat rectangular screen floating in the void. Seemingly projected upon it was the animated image of a flaming fountain: along a golden upright I-beam, washed over

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