View of “Mélanie Matranga,” 2015.

View of “Mélanie Matranga,” 2015.

Mélanie Matranga

Karma International

View of “Mélanie Matranga,” 2015.

The most conspicuous part of Mélanie Matranga’s exhibition “A perspective, somehow,” was a no-show: the Internet. While her aim seems to have been to visualize an atmosphere of contemporary urban artistic domesticity, that defining force had been left out. Its traces were present only in the artist’s sundry iTunes playlist emanating from a pair of considerably scaled-up globular rice-paper lampshades. Titled complex or complicated, 2015, they actually served as enormous speakers, playing back what sounded like a Starbucks mix—generic, if mildly uplifting, unlike the rest of the show, in which notions of reclusion, neglect, and the vicissitudes of social entanglements were vaguely implied by plenty of unplugged black power cables aimlessly snaking through a desolate environment drenched in pasty hues. Even the carpet covering the entire gallery floor was perfectly uninviting,

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