View of “Markus Schinwald,” 2011–12.

View of “Markus Schinwald,” 2011–12.

Markus Schinwald

Lentos Kunstmuseum Linz

View of “Markus Schinwald,” 2011–12.

It was only last year that Markus Schinwald transformed the Austrian Pavilion at the Venice Biennale into a labyrinth open to the feet and closed to the gaze, but the Lentos Kunstmuseum in Linz recently also put on a compelling exhibition of this artist’s work. The exhibition hall, a heroically scaled space of 8,600 square feet and a good eighteen feet in height, is like the parking garage for the Batmobile, and it suited Schinwald’s purposes perfectly. The pathology of uncomfortable spaces and the syntax, emotional undercurrents, and psychological aspects of empty interiors have often given him the impetus for his complex installations.

A continuous raised walkway led through the entire exhibition, functioning now as a stage, now as a viewing platform, sometimes creating a barrier or squeezing visitors up against the wall, then becoming a staircase or a pedestal to be clambered

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