reviews

  • Jesús Rafael Soto, Doble progresión azul y negra (Double Progression Blue and Black), 1975, paint, metal, 10' × 11' × 11' 3".

    Jesús Rafael Soto

    Galerie Perrotin | Paris, Saint Claude

    Jesús Rafael Soto’s late works stage elaborate visual puzzles. Take Sans titre (Aléatoire 2) (Untitled [Random 2]), 1996, as an example. More than six feet high and thirteen across, this mural-scale construction features ultrathin white vertical stripes on a black ground. Superimposed on this surface is a grid of sixteen by thirty-two tiny squares, some raised off the plane and some lying flat. The majority of the squares have the same pattern of stripes set horizontally, so that these clash painfully with the verticals behind them, producing the signature “vibration” effect of Op art. Twenty-four

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  • View of “Dora Budor,” 2015. From left: The Host, or You, 2014; Mental Parasite Retreat 1, 2014; The Architect, Slowly Crawling, 2014.

    Dora Budor

    New Galerie

    Creepy as a scene from a sci-fi blockbuster, Dora Budor’s exhibition “The Architect’s Plan, His Contagion and Sensitive Corridors” invaded the gallery with swaths of synthetic skin, severed cyborg prostheses, and images of smoldering, wreckage-filled landscapes. In fact, it’s all “screen-used” stuff you might have seen at the movies. Budor reclaims the materiality of silicone scars, cyborg body parts, and other substances specifically designed for digital capture, manipulation, and consumption. Removed from their original contexts, these artifacts of imaginary worlds appear significantly less

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