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Mathis Altmann, Common Pressure, 2014, concrete, chicken and pork bones, metal, plastic, LED light, wire, miniature, paper, 7 × 6 × 6".

Mathis Altmann

Freedman Fitzpatrick

Mathis Altmann, Common Pressure, 2014, concrete, chicken and pork bones, metal, plastic, LED light, wire, miniature, paper, 7 × 6 × 6".

Amid the rubble lay a bottle of booze. A toilet was wedged in the wreckage. The pope, perched atop an ash heap, spread his arms in benediction. These were just a few of the chintzy plastic miniatures lodged among the crags and craters of Mathis Altmann’s dozen grapefruit-size assemblages that dangled from the ceiling, over a thick carpet of mulch, in his recent exhibition “Psycho Bombs.” The viewer, once drawn in to scrutinize these ruptured concrete-and-detritus globes, might have looked quizzically upon the seeming incongruity between the whimsical toys and the desolation of their settings. Maybe this perplexity was evidence of literary critic Susan Stewart’s claim that the “reduction in scale which the miniature presents skews the time and space relations of the everyday lifeworld”?

Or maybe it was just the lights. Fluorescent grow lamps, their light filtered through a plastic

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