new-york

View of “Philippe Parreno,” 2015.

Philippe Parreno

Park Avenue Armory

View of “Philippe Parreno,” 2015.

“I wonder which is worse. To feel too busy or not busy enough.” This wistfully introspective not-quite question—included in a monologue delivered by a series of child actresses as part of Tino Seghal’s contribution to Philippe Parreno’s H {N)Y P N(Y} OSIS, 2015, a two-hour-plus-long multimedia scenario that was on view at the Park Avenue Armory this summer—had a very specific contextual function in the show’s overall scheme, but it also stood out for the way it cut to the heart of the conceptual and structural ambivalences that shadowed the project, and Parreno’s practice in general. Despite its lavish production values and deployment of almost every presentational modality currently operative in contemporary art, H {N)Y P N(Y} OSIS nevertheless fostered a deep and weirdly demanding sort of spectatorial languor. For viewers immersed within its exaggerated temporal and

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