“This guy,” says Ryan McNamara, holding up a small black-and-white photographic cutout, “was a contestant in a dance contest I held in Buenos Aires. The entire dance floor was full of 150 people all melting on top of each other and rolling all over each other.” The fond recollection, and the frenetic clip that follows it, appears in a video on McNamara’s website in which the artist introduces his practice, a singular blend of image- and object making, dance and performance, choreography and participation. McNamara’s recent exhibition “Gently Used” may have seemed like an odd fit for this uptown space (it was curated by Piper Marshall, formerly of New York’s Swiss Institute) but functioned nevertheless as a useful, compact primer on his high-spirited methodology, which melds an immersion in technology with an affection for the handmade, a studied interest in props and documents
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