View of “Judith Hopf,” 2016. Photo: Andrea Rossetti.

Judith Hopf

Kaufmann Repetto

View of “Judith Hopf,” 2016. Photo: Andrea Rossetti.

A strange sight greeted visitors to Judith Hopf’s third exhibition at Kaufmann Repetto: two large feet, each made from bricks held together by mortar. Ambiguous objects, the works (both titled Brick-Foot, 2016) have a humorous charge, but situated as they were just outside the gallery doors, they constituted an obstruction.

The show was distributed throughout three spaces and a courtyard. In the first room on the left there were three small concrete serpents, from of the series “Untitled (Serpent),” 2015–. A fourth, smaller snake, Untitled (Serpent), 2016, traversed the wall and peered into the second room, its mouth open in a threatening display of sharp teeth. But a closer look revealed that perhaps they were not quite as menacing as they first seemed, being made of fragments of printed e-mails meticulously folded into triangles. It was possible to make out the names of the artist

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