new-york

View of “Zak Kitnick,” 2013. From left:
Wealth and Prosperity, Xun (Wind), Purple, Prosperity, 2013; (Fire) and Reputation, Li (Fire), Red (Fire), Fame/ Reputation, 2013; Fame, Future, Reputation, Increase Recognition, Establish Reputation, Become Well Known, Fire, Red, Orange, 2013.

Zak Kitnick

Clifton Benevento

View of “Zak Kitnick,” 2013. From left:
Wealth and Prosperity, Xun (Wind), Purple, Prosperity, 2013; (Fire) and Reputation, Li (Fire), Red (Fire), Fame/ Reputation, 2013; Fame, Future, Reputation, Increase Recognition, Establish Reputation, Become Well Known, Fire, Red, Orange, 2013.

Those for whom the term feng shui connotes a Chinese technique seized upon by Western interior designers in the 1990s and quickly bastardized and rebranded under the New Age aegis may have suffered some alarm at the prospect of Zak Kitnick’s second solo exhibition at this gallery, laid out as it was according to the principles of something called a “bagua grid.” Outwardly a taciturn display of abstract sculpture, the Brooklyn-based artist’s arrangement of quasi-industrial objects had apparently been designed with different ends in mind than the “merely” aesthetic. Kitnick ends a sheet of notes that was available at the front desk with this injunction: “Optimize life. Activate space. Maximize power.” While not necessarily divergent from the ambitions of most artists, the aims here were expressed in the rather different context offered by a gallery.

As delineated in a helpful diagram

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