Mexico City

Danh Vo, Untitled, 2019, mixed media. Installation view.

Danh Vo, Untitled, 2019, mixed media. Installation view.

Danh Vo

kurimanzutto

Entering Danh Vo’s exhibition, visitors immediately faced a scaffolding-like wooden construction lined with foil mirrors. The gallery contained three such structures, made up of wooden beams supporting walls of intermittent mirrors, and the result was disorienting: One’s body was constantly reflected, exposed as part of the show. The mirrored panels of the first of these enclosures were mostly covered by a thin coat of mint-colored paint, with just the bottom part in one corner left untouched, so that one could see one’s feet moving around the room. I knew by reading about Vo’s exhibition this past fall at South London Gallery—of which this show was a reduced version—that these panels are in fact oil-on-mirror foil paintings by Peter Bonde, Vo’s former professor at the Royal Danish Academy of Fine Arts in Copenhagen, who has been making this kind of minimal and, as it were, nondescript

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