The bell may symbolize both the individual and collective management of social and ideological space, as exemplified by the Western church bell. Bells wake us, alert us to threats, and signal the flow of labor time. But they can be ignored, and they can be sabotaged. Emanuel Rossetti has employed bells as actual objects in the past, notably at the Kunsthalle Bern, Switzerland, in 2014, where his Gallery Bells idly occupied a dramatic crimson carpet, except for occasional moments when an electronic sequencer would cause them to ring. For this exhibition, he chose the more expansive title “International Bells,” while reducing them to the two-dimensionality of his so-called film stills, a category the artist previously reserved for similarly computer-rendered images of doughnut forms. One of the new series on view here, “Quarry Bells,” 2016–, visually retains the indulgence in prosumer
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