• Douglas Gordon, I Had Nowhere to Go, 2016, three-channel video installation, color, sound, 98 minutes. Photo: Stefan Altenburger Photography.

    Douglas Gordon

    Galerie Eva Presenhuber

    Douglas Gordon’s recent multichannel video installation I Had Nowhere to Go, 2016, unfolds in unrelenting darkness. The only relief comes from several images and flashes of color that appear for varying lengths of time on the large screen, two small floor-mounted monitors, and mirrors scattered around the gallery walls. This space is dominated instead by the sound of a foreigner reading, in English, dated passages in no particular order. The words ricochet off the metallic-looking walls until the voice goes silent. Suddenly a clatter of bullets and explosions flares up. There are also less

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  • Phyllida Barlow, demo, 2016, mixed media, dimensions variable. Photo: Annik Wetter.

    Phyllida Barlow

    Kunsthalle Zurich

    Phyllida Barlow’s 2014 Tate Britain Commission dock inevitably evoked the history of the Port of London. With its motley sacks and tangles of cranes, the piece recalled the waterfront as it appeared before the arrival of the shipping container redefined global trade in terms of anonymous, neatly stackable metric boxes that could just as easily contain weapons as toys. A carnival of open sculptural forms, dock was a raucous response to the stern Neoclassicism of the Duveen Galleries, and was well received by press and public alike.

    Barlow’s successor installation, demo, 2016, had a slightly more

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