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View of “Loris Gréaud,” 2012. From left: The Unplayed Notes, 2012; works from the series “Twain Rocks,” 2012.

Loris Gréaud

Yvon Lambert Bookshop

View of “Loris Gréaud,” 2012. From left: The Unplayed Notes, 2012; works from the series “Twain Rocks,” 2012.

With its tenuous illumination at floor level, the gallery space seemed to be at the bottom of a swimming pool, if not undersea. On the walls, Kraken (all works 2012), paintings made with squid ink, evoked mythological sea monsters. A mirrored ceiling doubled the space as well as the milky light of a video, The Unplayed Notes, made by using a thermal camera to chart the warmest areas of two coupling bodies. Formless sculptures, like black coral colonies, slowly rotated on axis; each titled Twain Rocks, they are made of pages from Mark Twain’s novels. Electric guitar chords (recorded by Lee Ranaldo without amplification in Institut de Recherche et Coordination Acoustique/Musique’s anechoic chamber) reverberated through the space. These sounds were also superimposed on the sculptures in the next room, fifteen Tatlin-style constructions in glass cases, a series titled “Tainted Love.”

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