Leon Vranken

Stella Lohaus Gallery

One of the chief qualities of “The Traveling Riddle,” an excellent exhibition by the young Belgian sculptor Leon Vranken, was its sense of tempo. Of course, like a performance in the theater or on film, an exhibition always has a conventional temporal structure, with the installation of the work followed by an opening, then the show itself, followed by a deinstallation. But over the course of this process, who could really attest to a key moment, a precise duration, a model, a format, a definitive distribution of roles? One wanders through an exhibition at liberty, viewing the works in any order whatsoever and for as much or as little time as one cares to spend. The only constant is this expectation of freedom. And it is on precisely this uncertainty that Vranken based “The Traveling Riddle.”

Visitors to the exhibition faced a narrow wooden hallway at the space’s entrance. At the end of

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