reviews

  • Darren Almond, Timescape 00:51, 2016, acrylic and gouache on aluminum, 60 1/2 × 84 1/4". From the series “Timescape,” 2015–.

    Darren Almond

    Galerie Max Hetzler | Paris

    Darren Almond realized that his “Fullmoon” photographic series, 2002–15, had reached a point of no return when he discovered that the famous white cliffs of Rügen, painted by Caspar David Friedrich, were plummeting into the Baltic Sea. His photograph of this site of erosion, in which one sees little more than a dense bank of fog that expands horizontally, becomes an image of the disappearance of the Romantic landscape and the sublime. Earlier, in Patagonia, the artist had noticed that the stars emitted a colored light at least as radiant as the luminescence of the moon. So now, in order to depict

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  • Adriana Lara, Live (Wild, Animal, Disco, Deviant), 2016, digital projection on curved screen, color, sound, 4 minutes 47 seconds. Song by Emilio Acevedo, montage by Martin Bautista. Installation view. Photo: Marc Domage.

    Adriana Lara

    Air de Paris

    The antic force behind Adriana Lara’s work is essentially linguistic in nature. The artist makes hay of ideas and concepts, exploiting their capacity to promiscuously inhabit a form, only to migrate to another. In her recent exhibition “Eggsplotion,” resonances and resemblances ricocheted from work to work, leaving the viewer to unpack their arch logic. The titular neologism connotes contradictory possibilities: creative origins, culinary consumption, and destructive expenditures of energy—but also the premeditation of a plot.

    Visible from outside the gallery in its storefront vitrine were

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  • Adam Cruces, Watermelon, 2016, acrylic on canvas, 15 3/4 × 11 3/4".

    Adam Cruces

    GALERIE JOSEPH TANG

    Sometimes moving forward requires looking back. This seems to be the case for Adam Cruces, whose recent exhibition “Pastel” was spawned from one of the artist’s earliest works. Still Life, 1993, 1993/2016, a remake of a pastel done when Cruces was all of eight years old, is a far cry from the slick multimedia art for which the Houston-born, Zurich-based artist is known. Presented in a traditional gilded frame, Cruces’s textbook still life features an overflowing fruit basket with a knife and a metal pitcher arranged on red drapery. The studious composition conjures a vision of the young artist

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