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View of “Ryan Gander,” 2018. Ground: The rebalance of mass inequalities (detail), 2018. Center: The Self Righting of All Things (detail), 2018. Photo: Jack Hems.

Ryan Gander

Lisson Gallery / Houldsworth

View of “Ryan Gander,” 2018. Ground: The rebalance of mass inequalities (detail), 2018. Center: The Self Righting of All Things (detail), 2018. Photo: Jack Hems.

Is Ryan Gander, now in his early forties, going through a period of midlife reflection? His recent work—which makes use of elements, such as design objects, figurative sculpture, and storytelling, already familiar from his multimedia practice but more grown-up and serious in tone—confronts existential questions about the passage of time. For his exhibition “The Self Righting of All Things,” he spoke with a mathematician and teamed up with close family members to show how the physical universe and human world are ruled by an innate order that returns to harmony without intervention. Sharing a piece of advice that has regularly been given to the artist by his father—“Let the world take a turn”—a motivational poster encouraged viewers to trust in time, rather than try to run against it.

In the installation Notes on Nothing—Watching Oneself Fall, 2018, flip-disc

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