london

Michael Stevenson, Signs & Wonders, 2015–16, mixed media. Installation view. Photo: Mariell Lind Hansen.

Michael Stevenson

Carl Freedman Gallery

Michael Stevenson, Signs & Wonders, 2015–16, mixed media. Installation view. Photo: Mariell Lind Hansen.

Michael Stevenson’s installation Signs & Wonders, 2015–16, has a lot to do with flight, and is now something of a frequent flier itself. Having previously been shown at Kunsthal Charlottenborg, Copenhagen, and Midway Contemporary Art, Minneapolis, it touched down at Carl Freedman’s relatively small London space in June, in a compressed form. Four boxy structures resembling low-tech 1980s-era flight simulators were crammed into the gallery, their front ends parked up against freestanding projection screens showing computer-generated video loops: pilot’s-eye views of flights through banks of cloud and over mountainous jungle, and ill-coordinated landings on grassy airstrips, with much swerving and crashing into digital palms and bushes. Furthering the general sense of gimcrack and dysfunction, the four cockpits were not merely unmanned but entirely void of joysticks or instruments:

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