reviews

Ari Benjamin Meyers, Serious Immobilities, 2013, mixed media, dimensions variable. Installation view.

Ari Benjamin Meyers

Esther Schipper

Ari Benjamin Meyers, Serious Immobilities, 2013, mixed media, dimensions variable. Installation view.

Ari Benjamin Meyers Esther Schipper Every Saturday over the course of Ari Benjamin Meyers’s “Black Thoughts,” the exhibition fulfilled the promise of a spectacular viewer experience, which has become known as a characteristic of a certain vein of 1990s art––and typical for several artists in Esther Schipper’s program: Different combinations of five commissioned musicians would appear to interpret a rather minimal musical composition by turns restrained but insistent or full-on and dynamic. Any other day of the week, though, the gallery was vacant of the performers and their sound; the exhibition would have been similar in appearance to various clean, total, reduced exhibitions by other gallery artists––for instance, Karin Sander’s “h = 400 cm” from 2012 or Ceal Floyer’s untitled exhibition from 2011––thus suggesting that the one aesthetic might be a natural foil for the other.

The

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