New York

John Klima


Peppered with all-too-easily countered adjectives like “seamless” and “high resolution,” the press release for John Klima’s second solo exhibition here does him no favors. The artist’s own mention of The Matrix is similarly ill advised, throwing the gap between the movie’s faultless, hallucinatory virtual universe and the more conspicuous workings of Klima’s installations Train and Terrain (both 2003) into unflatteringly sharp contrast. And while Klima acknowledges that the computer technology that informs his practice is in its infancy, it’s still difficult to ignore the numerous technical glitches to which its use (which can often seem gratuitous) inevitably gives rise. While many installations spill their guts, physically or otherwise, an explication of the work’s internal structure is patently not part of Klima’s stated project.

Train, in the front gallery, consists of a hand-built

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