Stefan Gec, Crossing Heaven, 2012, 3-D animation on 40" monitor.

Stefan Gec


Stefan Gec, Crossing Heaven, 2012, 3-D animation on 40" monitor.

Despite Duchamp’s declared intentions, it took only weeks (or maybe even days) for his “indifferent” Fountain, 1917, to acquire aesthetic value, expressive content, and metaphorical significance, thereby becoming what one might label dead avant-garde technology. Duchamp’s preoccupation with the redeployment of manufactured materials is echoed, nearly a century on, in Stefan Gec’s sculptural practice. But Gec’s readymades invoke technological aging and obsolescence to deliberate elegiac effect. This is true of the three works (all 2012) in Gec’s exhibition “Crossing Heaven”—a project that, at one level, reflected how thoroughly contemporary art has sidelined “indifference” and naturalized a deeply subjective, metaphorical, aestheticizing language around readymade objects.

Displayed alone in the gallery’s front space, Gentle Circuit consists of a salvaged pair of giant tires,

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