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Simryn Gill, My Own Private Angkor, #33, 2007–2009, gelatin silver print, 15 1/2 x 14 3/4". From the ninety-part suite “My Own Private Angkor,” 2007–2009.

Simryn Gill

Tracy Williams, Ltd.

Simryn Gill, My Own Private Angkor, #33, 2007–2009, gelatin silver print, 15 1/2 x 14 3/4". From the ninety-part suite “My Own Private Angkor,” 2007–2009.

My Own Private Angkor, 2007–2009, is a document that looks like a dream. Simryn Gill’s suite of ninety black-and-white photographs, which has previously been exhibited at the 2011 Istanbul Biennial, was taken near Port Dickson, Malaysia, a seaside town that in recent decades has been developed as a beach resort. Gill, who will represent Australia in next year’s Venice Biennale, made these images in a housing complex that was constructed there in the 1980s but then abandoned and never occupied. At some point, the houses were ransacked for metals to be sold as scrap; among other things, the vandals stripped the aluminum frames from the windows, leaving the glass panes leaning against the walls in otherwise empty spaces where time has given everything a patina of dust.

This backstory of real estate speculation gone awry supplies the entire overt content of the work, which is otherwise

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