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Tony Oursler, Phantasmagoria (detail), 2013, mixed media, dimensions variable. MAC’s Grand-Hornu.

Tony Oursler

Galerie Albert Baronian/MAC’s Grand-Hornu

Tony Oursler, Phantasmagoria (detail), 2013, mixed media, dimensions variable. MAC’s Grand-Hornu.

Tony Oursler has taken Belgium by storm. “Glare Schematics,” at Galerie Albert Baronian, one of two impressive exhibitions recently on view in that country, was a crowded and outrageous mixture of works on paper and mixed-media sculpture, depicting happy people, devils, talking masks, and more. Among the sculptures were four wall-mounted, branching metal structures that evoke family trees—send-ups, maybe, of the seriousness of those who try to go back in time and rediscover their forefathers. In Oursler’s world, this is a perfect starting point for putting together sometimes absurd combinations of all kinds of found objects with archetypal yet fake family portraits. What to say of a combination of an eye-to-the-telescope photographic view of the cosmos, a remote control, a talking ethnic mask, and a seemingly mismatched “family,” such as we encounter in Cosmiconsanguinal (

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