Reena Spaulings

Sutton Lane | Brussels

A visitor to “The Belgian Marbles,” the recent exhibition by the Reena Spaulings collective, would have noticed two things right away. First, thanks to a series of colorful lithographs of the shadows of palm trees called “A Place in the Sun (Shadows)” (all works 2009), marble surfboards (Mollusk [Portoro] and Mollusk [Rosa Portogallo]) installed on the balcony, and brightly colored yoga mats on the floor, the exhibition felt tropical—but for no apparent reason: This being Brussels, the effect was incongruous, or merely weird. Second, everything seemed completely offhand, as if the artists had nothing in particular to say and instead just monumentalized whatever was happening around them in the art world, whatever they and their friends might have been doing. The shadows of palm trees were photographed in the group’s free time at Art Basel Miami Beach, and had been layered with the scanned

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