reviews

  • Charles Gaines, Face #16, Naoki Sutter-Shudo (Japanese/French/Swiss German), 2020, acrylic paint, acrylic sheet, ink-jet print, 66 1⁄2 × 55 1⁄4 × 8". From “Numbers and Faces: Multi-Racial/Ethnic Combinations Series 1,” 2019–20.

    Charles Gaines, Face #16, Naoki Sutter-Shudo (Japanese/French/Swiss German), 2020, acrylic paint, acrylic sheet, ink-jet print, 66 1⁄2 × 55 1⁄4 × 8". From “Numbers and Faces: Multi-Racial/Ethnic Combinations Series 1,” 2019–20.

    Charles Gaines

    Hauser & Wirth London | Savile Row

    Generous is not typically a word associated with Conceptual art, but it’s precisely how I would describe the work of Charles Gaines: critically, provocatively, radically, sometimes paradoxically, but never submissively, generous. “The subjective imagination is an ideology, it’s not a fact,” the artist has said. He has also observed that the categories and universal paradigms, including “the creator,” in which we find ourselves inscribed are both constructed and arbitrary. In Gaines’s work, the challenge to systems and structures is necessarily inward- and outward-looking at once: The eradication

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  • Daiga Grantina, Temple #1, 2020, wood, fabric, plastic, ink, 16 1⁄2 × 26 3⁄8 × 2". From the series “Temples,” 2020–.

    Daiga Grantina, Temple #1, 2020, wood, fabric, plastic, ink, 16 1⁄2 × 26 3⁄8 × 2". From the series “Temples,” 2020–.

    Daiga Grantina

    Emalin

    Emalin’s new sun-filled space in London’s Shoreditch is a natural home for the wall-based assemblages of Paris-based artist Daiga Grantina. She has long been preooccupied with light and its sculptural qualities, having developed her practice from an interest in experimental filmmaking. Her recent exhibition “Temples” continued these inquiries, with light from two walls of windows providing an ideal setting for her sculptural investigations.

    The work here contrasted starkly with Grantina’s solo exhibition at New York’s New Museum in 2020–21, where a riot of color, texture, and sculptural gesture

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