Eagle-eyed visitors to “Hot Cottons,” Magali Reus’s first solo presentation in Scandinaviaand the London-based Dutch artist’s largest exhibition to datewill have noticed a short column of numbers, ascending in regular intervals, discreetly incised into the plastered walls at the gallery’s threshold. This ghostly calibration was echoed intermittently elsewhere, a tantalizing complement to a myriad of glyphs, graphemes, motifs, and devices that adorned the disparate surfaces of Reus’s sculptures, as if they had swarmed through the exhibition and settled at will. Those familiar with the architecture of the Bergen Kunsthall, designed in the 1930s by Ole Landmark, will also have registered more substantial interventions in the fabric of the building. These included the addition of one wall, the modification of another, and the seamless but substantial aggrandizement of
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