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View of “Lena Henke,” 2014. From left: Galocher (poupée) (Kissing with Tongues [Doll]), 2014; Galocher (oeil poché) (Kissing with Tongues [Black Eye]), 2014; Galocher (fécond) (Kissing with Tongues [Fecundity]), 2014.

Lena Henke

White Flag Projects

View of “Lena Henke,” 2014. From left: Galocher (poupée) (Kissing with Tongues [Doll]), 2014; Galocher (oeil poché) (Kissing with Tongues [Black Eye]), 2014; Galocher (fécond) (Kissing with Tongues [Fecundity]), 2014.

Each of the eight sculptures in “Geburt und Familie” (Birth and Family), Lena Henke’s recent show at White Flag Projects, is titled Galocher (French slang for a sloppy, openmouthed kiss). Indeed, the loose compositions of Henke’s works plant an irreverent French kiss on historic models of avant-garde production. The pieces are composed of fiberglass rope that was dipped in boldly colored resin, laid on the studio floor in sketchy intertwining shapes, and left to dry. The resulting forms were then propped up on angular steel stands and adjusted to lean into or away from one another. The works’ two-part construction, wherein the base is an integral element of the sculpture, positions them within a long trajectory of sculptural assemblage, from the constructed sculpture of the 1940s to early Minimalism. Yet the primary colors and graphic, linear aesthetic of the loopy rope forms also

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