Since he first emerged on the art scene in the late 1960s, John Armleder has sought to transcend categorization or definitive placement within genres, styles, or movements. His current show, “Better, Quasi,” is a sort of macro-installation, both unified and multiple, consistent and multifaceted, playing with the relational mechanisms between walls, surfaces, objects, and reflected images. The exhibition’s title seems to conjoin two fundamental factors in Armleder’s deliberately and knowingly eclectic poetics. On the one hand, better expresses a dynamic and progressive aim at improvement and is reflected in images that always hover at the edge of a constant relaunch of the creative proposition. On the other hand, quasi implies approximation, the “good enough.”
The works on display coalesce different materials and typologies: from painting to sculpture, and from a creative reassessment
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