new-york

Michal Rovner

Pace Wildenstein

Michal Rovner’s “in stone” consisted of a series of cavernous, darkened rooms filled with perfectly aligned rows of internally lit vitrines, each containing a stone tablet marked with hieroglyphs. Brooding and sterile, the installation recalled an antiquities museum or archaeology department cleansed of dust and clutter. Drawn close to the glowing glass-and-steel displays, the viewer realized that what appeared to be ancient and inert was flickering, technological; what one thought was etched in stone was written in light. Black jots and squiggles were projected against the unincised surfaces by film equipment concealed inside the vitrines. Further inspection revealed that these marks were not plain hatches but tiny human figures, waving their arms, marching, or dancing in lines.

In the side galleries, a swarm of body marks were projected in red light onto the dry floor of a stone well,

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