• Stephan Balkenhol, Frau in schwarzem Kleid (Woman in Black Dress), 2013, painted wood, 67 x 7 7/8 x 7 7/8".

    Stephan Balkenhol

    Monica De Cardenas | Milan

    Auguste Rodin famously studied the Belvedere Torso, and one of the primary lessons he learned from it was that an inert and fragmentary muscular posture can impart a profound sense of internal tension and intense psychological activity. This realization was Rodin’s point of departure when he began working on sculptures and groups such as The Thinker, 1880–81, and The Gates of Hell, begun in 1880 and still unfinished at the artist’s death in 1917. While in the first case he wanted to convey an intellectual drama through the representation of a male nude, characterized by a still body and tormented

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  • Andra Ursuta, Soft Power 1, 2013, bedspreads, paint, wood, metal, electric air blower, inflated 94 1/2 x 98 1/2 x 118".

    Giorgio Andreotta Calò/Andra Ursuta


    One of the gallery’s rooms was dangerously dark. Only the tapping sound of falling drops of water filled the void, marking time and drawing visitors toward a slightly more illuminated point located just off center in the space: a rectangular hole that looked out onto an abandoned lower floor of the building, which the artist had flooded for this exhibition. The water was so immobile and calm that it mirrored the space, reversing perspectives and drawing the viewer’s eye into a deceptive abyss. Specularity is what connects Giorgio Andreotta Calò’s site-specific environment Untitled (level), 2014,

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