berlin

Studio for Propositional Cinema, UNFURLING WITHIN NETWORKS OF GAZES / REFLECTIVE PLANES OF & IN TIME CATCH & CONTORT / BEFORE & BEHIND & BESIDE THEM & FOLDING OUT LIKE SKINS, 2016, spray paint, dimensions variable.

Studio For Propositional Cinema

Tanya Leighton

Studio for Propositional Cinema, UNFURLING WITHIN NETWORKS OF GAZES / REFLECTIVE PLANES OF & IN TIME CATCH & CONTORT / BEFORE & BEHIND & BESIDE THEM & FOLDING OUT LIKE SKINS, 2016, spray paint, dimensions variable.

At an exhibition with a number of works claiming to respond to the paintings of Édouard Manet, you might expect to see, at the very least, pictures. Instead, “(TO THE SPECTATOR:),” staged by the anonymous collective Studio for Propositional Cinema, presented a series of texts, plus a performance, concerning spectatorship. Though the four main works offered oblique commentaries on different canvases by Manet, their art-historical points of reference, at least at first glance, appeared much more contemporary, as evinced, for example, by fragments or statements painted directly onto the walls in an obvious nod to Lawrence Weiner. On the whole, the exhibition successfully distilled and digested a variety of influences, including Michael Asher, Christopher Wool, K Records, Jeff Wall, Jean-Luc Godard, and Barbara Kruger, among others. The Studio’s use of daylight added a distinctive

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