new-york

Janine Antoni

Luhring Augustine | Chelsea

In the works on view in Janine Antoni’s recent exhibition, the body veers between mythical symbol and stubborn flesh and blood—it can be a tool, a vehicle for something else, an expression. In Tear, 2008, the blinking of a gigantic eye, shown in a large video projection, produces the sound of a wrecking ball crashing into a building (the wrecking ball itself is also part of the work and was shown, dented and the worse for wear, not far away). In Conduit, 2009, Antoni has created a set of gargoyle-shaped copper apparatuses through which a woman might pee while standing up, and traces of verdigris are evidence that they have indeed been used. Rather blameless activities (blinking, peeing) are here granted a larger-than-life power, elevated to the destructive, the triumphant. Conduit’s gargoyles, displayed like relics, each on its own pedestal, were shown with a photograph of the artist

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