View of “Oscar Tuazon,” 2012.

View of “Oscar Tuazon,” 2012.

Oscar Tuazon

Galerie Eva Presenhuber

View of “Oscar Tuazon,” 2012.

Oscar Tuazon’s invasions of space—which he improvises on-site, working them out as he goes—have been much discussed lately. One hears talk of “structural tension” (Julian Rose in Artforum) or a “palpable miss” (Philippe Pirotte in Parkett). Tuazon’s topography of smaller structures in the spacious new rooms of Galerie Eva Presenhuber opened up yet another perspective on his work. To begin with, there was the very direct, almost archaic occupation of the space using heavy construction materials, steel frames, wood, glass, and poured concrete. Heavy beams sketched out complex geometric bodies in the space with their sharp lines that in the end wound up looking almost like filigree. In between, one found constructions of closed surfaces and frameworks reminiscent of furniture, boldly jutting structures featuring shiny neon lights or out-of-commission appliances serving as

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