vancouver

Elizabeth McIntosh, The Girl, 2014, oil on canvas, 73 x 49". From “Persian Rose Chartreuse Muse Vancouver Grey.”

“Persian Rose Chartreuse Muse Vancouver Grey”

Equinox Gallery

Elizabeth McIntosh, The Girl, 2014, oil on canvas, 73 x 49". From “Persian Rose Chartreuse Muse Vancouver Grey.”

What does it mean for works of art to talk to one another? How did “Persian Rose Chartreuse Muse Vancouver Grey,”curated by the artist Mina Totino, achieve the sense of a conversation—or, more precisely, several intimate and casually intermingling exchanges—that might arise at an informal gathering, probably in a garden, sometime in spring? This may sound frivolous, but stay with me. Imagine going to a party where each guest is so adept at communicating that only a few words are ever needed. The rest is gesture—that wordless language Giorgio Agamben found to be, by the end of the nineteenth century, “irretrievably lost” to the Western bourgeoisie. As technologies of reproduction developed, Agamben argued, the neurotic recording and subsequent overanalysis of gesture compromised its ease, its liveliness. Totino’s exhibition gathered more than thirty silently eloquent

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