london

Amikam Toren

Anthony Reynolds Gallery

Despite its evident relation to Conceptual art, Amikam Toren’s work eludes categorization and stubbornly refuses to be slotted with any current artistic trend. One consistent concern of Toren’s work, the relationship between object and image, is articulated here in the ambivalent status of the iconic signs, painted in acrylic on pulped cardboard, which are attached to boxes for appliances.

The signs themselves—a rendering of a glass for “fragile,” arrows indicating the right way up, numbers above two bars specifying the order of the boxes to be stacked—constitute a general vocabulary for handling any kind of packaged product, from Panasonic color televisions to assorted cotton wool. This ubiquitous language of prohibition and command is ironically replayed as the “universal” language of art, invested with connotations of the mythical and archetypal, only to refer the mystique of esthetics

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