Look at the USA. Its the title of photographer Peter van Agtmaels exhibition, but its an instruction too. Look at it, do not turn away, do not obfuscate, do not insist on nuance, do not flinch: look at the USA.
Los Angeles based painter Sayre Gomezs exhibition of new work, Renaissance Collection, currently on view at the Fondazione Sandretto Re Rebaudengo in Turin, Italy consists of five paintings focused on the eponymous collection of apartment buildings by developer Geoff Palmer. Palmer is notorious for being both a sleazy and rapacious figure in the LA real estate scene, and also, something of an idiot, having once claimed that The Italians actually settled LA before the Spanish and Chinese.
What does it mean to show Lee Lozanos work in a commercial gallery? And not just any commercial gallery, but Hauser & Wirth, one of the biggest and most profitable? Its not a question actively posed by All Verbs, but after leaving the building its this problem, more than anything else, that remained on my mind.
In Mona Hatoums visual world, the grid is often also a cage, and in this sense all of a quiver references not just collapsing structures, but also the cages used to hold the refugees such collapses create.
In Kino Eye (1924), the first of his two masterpieces, Dziga Vertov staged a resurrection, turning a bull carcass hooked in a city slaughter house into a living bull, happily grazing in a field. Kino Eye moves time backwards, the title card reads just before the miracle.