reviews

  • Mark Boulos, Comrade Teteng II, 2010, C-print, 26 3/8 x 39 3/8".

    Mark Boulos

    Lisson Gallery | 27 Bell Street | London

    In his large three-channel video installation, No Permanent Address, 2010, Mark Boulos presented the rugged life and personal stories of members of the New People’s Army (NPA), a Communist guerilla movement in the Philippines designated a terrorist organization by the EU and the US. The artist spent eight weeks living among two of the group’s peripatetic squads to make the twenty-seven-minute-long video. The footage shows the company’s members trekking through dense jungle, conducting military routines, and resting on hammocks strung between trees. Short interviews with individuals shed light

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  • Dominick Di Meo, Limp Voyeur in a Humid Landscape, 1965, synthetic polymer on canvas, 19 5/8 x 23 5/8".

    Dominick Di Meo

    Thomas Dane Gallery

    In his first UK exhibition, Dominick Di Meo was represented by a selection of his production from the years 1960–74, but the work was not necessarily what we would imagine from an artist in that era. Born in Niagara Falls, New York, in 1927 and raised in Chicago, enduring a difficult childhood that included a long bout with polio, Di Meo did not move to New York City until 1974, and so was not influenced by the Pop, Minimalism, and painterly abstraction that emanated from that metropolis in the 1960s. Instead, his interests were broader and rather unexpected: He was drawn to Aztec art while a

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  • Salvatore Arancio, Où le soleil recompose sa géométrie de lumière (Where the Sun Recomposes its Geometry of Light), 2012, ink and colored paper on book page, 9 7/8 x 7 1/2".

    Salvatore Arancio

    Rowing

    For his 2012 artist’s book, Wonders of the Volcano, the Italian artist Salvatore Arancio reprinted a work of nineteenth-century popular science, transforming the engravings that illustrated it into geologically implausible fantasy landscapes, the better to bear out the promise of the book’s title. Though fanciful, these modifications are in keeping with the character of the text itself, which is filled with purple passages and makes no pretense at objectivity. Geology and exploration may have been heralded as ways of understanding the world, but they are also, paradoxically, ways of perpetuating

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