reviews

  • Edgar Arceneaux, Chocolate Figures. One., 2016, handmade wooden shovel, chocolate, acrylic on muslin, and mirror on wood panel, wooden frame, 48 × 35 × 4 3/4".

    Edgar Arceneaux

    Galerie Nathalie Obadia | Rue du Bourg Tibourg

    Drawing from imagery of childhood experience, Edgar Arceneaux’s exhibition “Cockeyed Eddie” may be understood in relation to the educational philosophy encapsulated by what the Germans call Bildung, which concerns the development of the individual through intellectual and moral cultivation. In part a process of reckoning with one’s own culture, Bildung also etymologically connotes picturing and shaping. Such impressions of the visual onto the self were evident in the exhibition title, which refers to the artist’s boyhood affliction with a form of diplopia, or double vision, that the press release

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  • View of “Larissa Fassler,” 2016. Photo: Nicolas Brasseur.

    Larissa Fassler

    Galerie Jérôme Poggi

    Writing about “pickpockets and paranoia in France” for the New Yorker in 2014, Adam Gopnik described Paris’s Gare du Nord as a place where tourists, “looking for a week’s pleasure, mingled with travellers recently arrived from Bulgaria and Romania, looking for a job or a new life.” This same crossroads—the French capital’s oldest and, notoriously, unruliest train station—became the focus of Larissa Fassler’s attention while on a residency in Paris in 2014. Over the course of three months, the Berlin-based Canadian artist spent hundreds of hours, day and night, surveying and documenting

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  • View of “George Henry Longly,” 2016. Photo: Sylvie Chan-Liat.

    George Henry Longly

    Valentin

    A room closed off by a curtain, matte indigo walls, a floor of soft apricot wall-to-wall carpeting on which visitors had to walk with protective coverings over their shoes, one sculpture hanging on the wall, two others in the space: It seemed that we were no longer in a gallery but in a white room that had undergone a careful makeover, evoking the beauty products that were the subject of George Henry Longly’s earlier marble plaques. The works in this show, “The Smile of a Snake,” functioned as architectural maquillage rather than as aesthetically autonomous objects. In the past, the artist has

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