View of “Marion Verboom,” 2017. Photo: Nicolas Brasseur.

View of “Marion Verboom,” 2017. Photo: Nicolas Brasseur.

Marion Verboom

Galerie Jérôme Poggi

View of “Marion Verboom,” 2017. Photo: Nicolas Brasseur.

Presented under the title “Temporaldaten” (Temporal Data)—a philosophical term coined by the father of phenomenology, Edmund Husserl—Marion Verboom’s recent exhibition explored the problem of how we experience and describe time. Eschewing chronology, Verboom juxtaposed references to artworks, artifacts, and architecture hailing from far-flung cultures, leaving the viewer to connect the dots—or daten, as Husserl might have said.

At the heart of the exhibition, an installation of five totem pole–like columns from the series “Achronies” (Anachronisms), 2017, evoked the Roman Forum. Although the columns are not classical in style, they are, like those of the famous ruins, temporally confusing: The Romans recycled parts of older structures to create new buildings and thereby upset the archeological stratigraphy of the site, whereas Verboom confuses things by interspersing

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