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Elias Hansen, If fucking would’ve fixed this, I’d have fucked the shit out of you a long fucking time ago., 2014, enamel paint, found object, glass, playing card, steel, tape, wood, 43 × 13 × 16".

Elias Hansen

Jonathan Viner Gallery

Elias Hansen, If fucking would’ve fixed this, I’d have fucked the shit out of you a long fucking time ago., 2014, enamel paint, found object, glass, playing card, steel, tape, wood, 43 × 13 × 16".

In Elias Hansen’s work, glass objects, including beakers, test tubes, and flasks—some found, others specially made, many brightly colored—are assembled with other secondhand items and light fixtures, often on wooden shelving, to suggest alchemical systems and processes of distillation. References to industrial-age apothecaries, the grit of basement meth labs, and Color Field formalism are often embedded in Hansen’s material compositions. In the work’s titles, jabs of morbid profundity are usually softened by a certain ordinariness, as with A handful of nothing, 2013: brown beer bottles presented on wooden shelves sprayed red, with a red flag hanging overhead.

But this softness gave way to a rougher edge in Hansen’s latest exhibition, “You can cry all you want, but it ain’t changing shit,” which presented all new work. One room was filled with totemic assemblages on

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