Christopher Michlig


If the photographs that illustrate Artforum’s reviews were still in black and white, readers could be forgiven for confusing Christopher Michlig’s recent solo debut at Jail with an exhibition of early-twentieth-century Russian Constructivism. The flat collages, with their starkly graphic compositions, were presented in four groups of five, either hung at eye level or dropped to the floor and leaning against the wall. They included, for example, a sequence of near-empty monochromes, and another set densely packed with black rectangles. Additionally, five freestanding sculptures were scattered throughout the gallery, extending the design of one wall work into three dimensions. Michlig adhered to a given template throughout, allowing it to strictly delimit the course of his compositional play. The same irregular grid-work structure is scrupulously repeated throughout the exhibition, but by

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