brussels

Dorian Gaudin, Pierre and Renée (detail), 2014, resin, motor, wood, ceramic tiles, steak, 13 3/4 x 35 1/2 x 7".

Neil Beloufa and Dorian Gaudin

C L E A R I N G | Brussels

Dorian Gaudin, Pierre and Renée (detail), 2014, resin, motor, wood, ceramic tiles, steak, 13 3/4 x 35 1/2 x 7".

Reveling in the near-Duchampian turn of its title (which could be translated as either “Behind, After the Falls” or “Behind, After the Remnants”), “Derrière, Après Les Chutes” transformed Clearing’s town-house interior into an assembly line of bachelor machines, with a collection of contraptions by Dorian Gaudin and Neïl Beloufa. While Duchamp’s bachelors grind under the weight of stunted desire, these contemporary devices strive toward a more perfect pointlessness—operating, perhaps, but not producing.

The first floor featured a suite of sculptures by Gaudin, centering around Untitled, 2014, in which a sheet of plywood is manipulated by a set of cables attached to a motor. At times the applied pressure hardly registers; at others, the wood torques wildly, slapping against its support the moment the cables relax. For Pierre and Renée, 2014—a piece named for Gaudin’s

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