paris

Didier Vermeiren

Galerie Ghislaine Hussenot

The first thing one noticed, when looking at the four sculptures that make up this exhibition, was a radical modification of the regular gallery space: Didier Vermeiren chose to occupy only the ground level, leaving the mezzanine to function as a belvedere. It was, however, only a virtual modification, in that nothing was actually changed in the architecture of the place; the site took on the general disposition of the works—like chesspieces, they defined the area they occupied and continually submitted it to a new and specific perception. (The floor, for example, with its usually unnoticeable slope, here constituted a primary given.)

The presence of three untitled sculptures, conceived as variations on the theme of a 1985 work by Vermeiren—a vertical parallelipiped of around 1 meter 65 centimeters high, placed on four castors, a model that has undergone numerous transformations —immediately

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