New York

Michaël Borremans

David Zwirner | 525 & 533 West 19th Street

Welling up over and over in the sepulchral chamber carved out for it from David Zwirner’s cavernous Chelsea multiplex, Michaël Borremans’s looped film The Storm, 2006, is poised—like the concise, affecting show it fronted—at the extremities of both visibility and logic. Just over a minute long and projected to cinematic scale on a wall of the blacked-out space, the film is anything but tempestuous. Instead it’s all stillness, pure mood and palette: With a static gaze the camera blinks drowsily between light and darkness, eyeing three men sitting impassively in a corner, their black skin and matching cream suits set, with a whiff of fashion-ad tastefulness, against dove-gray walls and brown wooden floors. This air of elegant gloom was shared by the entire installation—the gallery was remade as a sober twilight kingdom uncharacteristically cut off from the rest of the Nineteenth Street

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