london

Erik van Lieshout, Stephan, 2013, black-and-white photocopies on particleboard, wood, 10' 6“ x 8' 2 3/8” x 2 3/8".

Erik van Lieshout

Maureen Paley

Erik van Lieshout, Stephan, 2013, black-and-white photocopies on particleboard, wood, 10' 6“ x 8' 2 3/8” x 2 3/8".

Downstairs was a dense, labyrinthine sculptural installation: a crowded maze of plywood structures, photographs, collages, sketches, wooden cutouts, and photocopies. This “Private View,” as Erik van Lieshout’s show as a whole was called, was seething with anger (I HATE MY FATHER stenciled on a white ground) and Oedipal details (a cutout face of the artist’s mother roughly glued atop the body of a model from a girlie magazine). Recurring throughout was the haunted image of a young man, flashing a peace sign and bearing an air of distant melancholy.

None of this quite prepared us for what was upstairs: The Workers, a staggering fifty-two-minute film (shot on HD video), the latest installment in Van Lieshout’s magnum opus, the forthcoming feature-length Ego. It opens with triumphant news: Van Lieshout has been selected for the 2013 edition of the Venice Biennale! The artist is flattered,

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