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critical discourse. From my experience, a Lissitzky, taking appropriated images of annie
successful show at this candy-coloured Beatrice Henry (the second woman to be given
warehouse is one that has no apparent physical the electric chair in Louisiana) to make
boundaries, which is what I found with its constructivist-ish compositions from positive
latest efforts, as I stumbled out of the main and negative space. seen as formal compositions,
gallery into a hallway lined with monster the works are rather mundane, but they become
masks, spray-painted TV sets and vintage more arresting when considered alongside the
speakers, in a vain search for a working subject. It’s just that the shadow of Warhol’s
bathroom. Death and Disaster series (1962–3) looms long
and heavy over such work.
(7)
KrIs MarTIn, P.s.1 Contemporary art Center (5)
aIDa ruILoVa Lulu, salon 94
‘Kris Martin’s exhibition at P.s.1’, or the
story of how curator neville Wakefield traded Yet another uptown gallery extension, salon 94
Matthew Barney-size complexity for the heavy- sits on the former premises of silo, whose
handed, the fatalistic and the dull. passing is worth mourning, even though salon
94 is just about the prettiest gallery space
to open recently on the Lower East side (let’s
set aside any nitpicking arguments about
whether this stretch of rivington can be
considered the LEs). Presenting something of a
departure from ruilova’s previous videowork –
colour video that swings around black-clad
figures set against white architecture, chopped
and edited to produce a kind of amphetamine
music – was her colour-saturated video piece
Lulu (2007). using Wedekind’s turn-of-the-
century femme fatale as the central motif,
ruilova cast three men as the female protagonist
and set them in the Victorian drawing rooms of
the national arts Club in Gramercy Park. What
remains consistent in the current work is
ruilova’s choppy, though musical editing. What
has changed is the layers of narrative
complexity and the higher production values.
ultimately, Lulu is an accomplished reworking
of an intimidating artwork that delivers an
almost baroque rumination on unbridled
passion.
(8)
Extremes & In-Betweens, Dorsky Gallery
Joshua altman’s addition to Dorsky Gallery’s
ongoing series of independently curated
exhibitions takes a look at animation-based
work of contemporary practitioners. Few of the
artists, altman claims, were trained in the
medium, though all of them appear to share a
burning desire to rend it at its seams.
Collectively, this makes for one of the more
irreverent and spirited shows I’ve seen in a
good while. Martha Colburn’s Spiders in Love:
An Arachnogasmic Musical (2000), for example,
finds her virtuosic practice in a
characteristically psychotropic zone, as
legions of fetish-girl arachnids stomp and
Reviews Marathon.indd 67 7/1/08 16:47:50
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