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(24) something like an invention of Sacher-Masoch’s
Tino Sehgal, Marian goodman gallery after a visit to Tombstone (or after having
met Matthew Barney). it’s also rather
Six people were having a stilted philosophical otherworldly when turned on, especially when
conversation about love and economics – i guess viewed from outside, across the street, which
about the nature of social and interpersonal is a shot captured in the short video of the
exchanges. as they did, they made exaggerated, piece included on the gallery’s website. From
contorted movements. i was the only observer, just a little distance, the gothic details
and stayed for more than an hour, during which recede and the movement becomes more uncanny,
time they attempted to draw me into their less mechanical.
dialogue. When that didn’t work, one of the
guys turned to me and said, “i noticed that The cowboy thematic, which Kozul uses to good
your right shoe has a crease by the toe and the effect (aside from the bull, there is a red,
left one doesn’t. You’re well-dressed, and white and blue hat, pair of boots and saddle),
your hair really suits you, but there is this is a popular one, though its iconic status has
fold. i thought to myself, ‘There’s a lot of been sullied by the political climate in the
heart to this guy.’” he wasn’t really hot, but US, the duelling sides of which always seem to
i’d noticed that his light-blue socks matched be looking for ways to out-america one another.
his belt and that the top of his butt was and viewed from this perspective, it becomes
visible when he leaned over. i was totally easier to read the cynicism of Kozul’s
turned on. Then, as i was leaving, the six gesture.
(19) Javier Pinon, in contrast, seems to have
managed to keep that icon from devolving into
a punchline or a photo-op, but that is because
Piñón has never thought of the character of
the cowboy strictly within the vernacular of
the american West. The artist’s most recent
series of collage pieces at ZieherSmith
reimagines the cowboy as any kind of mythic
hero, from Perseus to Don Quixote. The latter
serves as the title character of the show, and
Piñón’s depictions of the imaginary knight
preparing to do battle with century-old
windmills look like illustrations out of a new
fantasy bestseller that has yet to be
written.
So at this point we have reached 19 shows. That
leaves a few to go. But i am seriously
questioning whether i have anything more to
say…
except to say this: (20) ThoMaS rUFF’s new
photographs at David Zwirner look better in
reproduction than they do when viewed in
person, which, when you think about it, serves
as a fascinating reversal: usually it’s bad
paintings that look better in reproduction,
especially when that reproduction is digital,
which can flatten out and sharpen up otherwise
unaccomplished work. ruff, as we know, works
with JPegs culled from the internet, which are
then scaled-up to the size of paintings. The
digital impressionism that ensues may seduce
at the outset, but after six or seven prints,
regardless of content, the conceit begins to
feel just like that: a conceit.
uttered the title of the work: “Tino Sehgal,
This Situation, 2007”. a veil of artificiality
dropped. i suppose any exchange is somehow
scripted, and any exhibition is an artificial
situation in which, ideally, the viewer has a
conversation with the work.

Reviews Marathon.indd 84 7/1/08 16:51:57
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