paris

Ian Kiaer, a. r. salle des études (a. r. study room) (detail), 2013, paper, Plexiglas, rubber, aluminum, video projection (black-and-white, silent, 60 minutes), dimensions variable.

Ian Kiaer

Marcelle Alix

Ian Kiaer, a. r. salle des études (a. r. study room) (detail), 2013, paper, Plexiglas, rubber, aluminum, video projection (black-and-white, silent, 60 minutes), dimensions variable.

Broadly speaking, Ian Kiaer’s methodology evokes the intricate process of placing heterogeneous elements in a plane within an accurate perspective (or at least a desired one). In other words, despite its sculptural guise, his work avails itself of a concept historically attached to painting. Not many individual positions so epitomize the expanded nature of artistic practice today as Kiaer’s, in which voids convey content as much as forms do. Scattered around the exhibition space, his fragmentary objects paradoxically sparked the notion of a whole as he immersed the viewer in scenarios built on clustered arrays of references. Along with painting, these include the history of utopian projects, such as those undertaken by visionary intellectuals and architects, among them Claude-Nicolas Ledoux in eighteenth-century France and Konstantin Melnikov in twentieth-century Russia, with

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