reviews

  • View of “Gaylen Gerber,” 2020. Photo: Gaylen Gerber and Paul Levack.

    View of “Gaylen Gerber,” 2020. Photo: Gaylen Gerber and Paul Levack.

    Gaylen Gerber

    LAYR | Vienna

    When you apply a noise-cancellation filter to an audio file you are editing—whether of speech, birdsong, or a symphony—and set the threshold too high, the resulting sound becomes strangely fragmented. Much information disappears, and the soundscape is transformed into a distorted and unfamiliar, yet oddly fascinating, terrain. If there were a spatial equivalent of such extreme acoustic filtering, it might have looked like this exhibition by Gaylen Gerber. The show consisted of two paintings, both Untitled, and a group of objects, all of which were simply called Support. The works in both groups

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