View of “Ana Roldán,” 2016. Photo: Andreas Furrer.

View of “Ana Roldán,” 2016. Photo: Andreas Furrer.

Ana Roldán


View of “Ana Roldán,” 2016. Photo: Andreas Furrer.

Placed at the back of the gallery was Lacking the Real (all works 2016), a folding screen composed of double-sided mirrors that reflected a fractured image of Ana Roldán’s exhibition “NO,” including its visitors, while concealing what was behind it from any inquisitive glances—a seemingly simple device that nonetheless introduced an uncanny disruption into the space of the gallery. Lying on the floor in front of this reflective partition was Elsewhere, a flat, round stone across which a blue, many-armed form, like an abstract octopus, extends a set of truncated tentacles. Here, too, a gap opened up in the fabric of the real.

In his 1966 radio talk titled “The Utopian Body,” Michel Foucault refers to our own bodies as “pitiless place” to which we are “condemned.” And yet I shall never be able to see my own back, my own head—and least of all the back of my head—in the

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