Arts & Culture
Artpace’s International Artists-in-Residence Geek Out
Published: March 26, 2014
The other, smaller projection, in which obscure letters and symbols seem to be emulsified onto the film itself, is a cuneiform no less potent for its seeming arbitrariness.
The third artist in Gonzalez’s conceptual project, LA-based Liz Glynn, has maybe the most readily engaging IAIR opus. She’s assembled an engrossing, museum-like display of Romanesque casks, caskets, tables and cabinets, each sightline littered with allusion, whose fabrication entailed a hands-on onsite design and joinery collaboration with local maker Reagan Johns. The multiverse of props encapsulates Palladian gestures, Renaissance forms, the whole museum history of furniture and decorative arts and a subtext involving, among other things, object value, banking history and the Medicis. In addition to her exuberant and frankly funny staging of objects, she made a performance wherein professional movers disrupted the space, rearranging the “set” and turning the maybe-OCD enterprise on its head.
It’s in the aggregate that Gonzalez’s thesis comes to bear. Her eye takes a hundred sidelong glances, and in Barba, Glynn and Mallios, she’s sidestepped any straightforward statement of purpose like “women in art” or “the shortfalls of power.” She, and each of the three in residence, approaches central art-historical notions and plays up their fictions: that photography represents reality; that film documents factual landscape; that an object’s provenance dictates its value. This IAIR lets you in on the pantomimes and suspends them as tricky, layered and true.
International Artists-in-Residence Exhibition
445 N Main
Through May 18