los-angeles

Lizzie Fitch and Ryan Trecartin, Ledge, 2014, mixed media. Installation view.

Lizzie Fitch and Ryan Trecartin

Regen Projects

Lizzie Fitch and Ryan Trecartin, Ledge, 2014, mixed media. Installation view.

As if in perverse celebration of Lizzie Fitch and Ryan Trecartin’s near decade and a half of collaboration, three monstrously contorted epicene odalisque sculptures, painted in opalescent jewel tones, occupied the reception area of their first solo exhibition at Regen Projects. These sculptures, Animation Abuse #1–3 (all works 2014), were a telling preamble. Before entering any of the show’s three video installations, or “sculptural theaters,” as the artists call them, one had to confront the two terms of their invented medium separately. First, sculpture: the three ambiguously sexed figures, almost decorative in their horrific distortions, and equally incomprehensible from every possible view. Second, theater: the reception area made over into a playhouse lobby with burgundy high-pile carpeting, dark-turquoise walls, and an atmospheric soundscape redolent of New Age spas,

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