Arts & Culture
"Pace Gems:" Flawless pieces, gorgeous setting lost in a jumble
Published: April 30, 2014
The best/worst illustration of this non-principle is the arrangement of smaller works huddled together around a ledge in SPACE’s southwest corner. This includes a suite of seductive and perfect pseudo-confections, I Hope We’re Not Too Late (2002), by Franco Mondini-Ruiz; a homely, coral-like lump of bronze, Untitled (1974) by Yayoi Kusama, and two-dimensional pieces by Tracey Rose, Katja Strunz and Linda Pace herself. The too-close grouping suggests retail display, which works with Mondini-Ruiz’ sly agenda but makes this corner collection-within-a-collection look like a gift shop.
It’s hard to fathom where “Pace Gems” fits into the overall Pace scenario. Its curator was not only absent from the April 18 opening, but has gone from the Foundation, which brings up a host of who’s-in-charge speculation. The collection’s most recent gem seems at odds with the rest of the presented work. The exhibition is an unharmonious fit with its gentle and beautifully lit venue, which is nestled within the gorgeous serenity of CHRISpark, itself a memorial to the late son of the late patroness, with all the poetic resonance and meditative qualities that it suggests. There are too many variables here to coax out any kind of coherent organizing principles. Go and look at the pieces, spend a minute or so with each one, and dream of what’s coming.
Through Sept 13