![]() ![]() (Some of these items have been physically produced by Satterwhite, who places them on shelves made to house a home-entertainment center.) A CGI video work provides a glimpse into the artist’s futuristic landscapes: a vision of a factory in outer space where there is no hierarchy the Boschian scenes of gleeful bodies atop one another. The work spans wildly different media and approaches, but is linked by the artist’s mother, who passed away two years ago after battling mental illness.įirst, there are her sketches of potential new appliances-one is an ice bucket on wheels-that she would mail to QVC in hopes that the company would mass-produce them, making her rich on royalties. Jacolby Satterwhite does that and more at the solo booth of Morán Morán in the Statements sector, with work that expands on how his giddy, computer-animated science-fiction visions are actually grounded in real life, reflecting his relationship with his mother and his history of growing up black and gay in South Carolina. Rare is the booth that is so immersive it transports you out of the fair, far away from the confines of high-priced transactions in expo centers. Life and death, image and appropriation, performance and stasis-it’s all there, whiling around the Gavin Brown booth, all day long. We see the artist dressed in fur-lined pants and a felt hat-she took pictures of herself as Joseph Beuys, during a performance in which he went to the movie theater in Chicago where on-the-lam gangster John Dillinger was finally caught, reenacting how his bullet-ridden body slumped down beneath the ticket kiosk. A projector is installed on a rotating platform, sending images across the booth’s works and its walls. Such works would make up a wonderful booth on their own, but what truly activates this space is a mysterious, soulful installation by Sturtevant, Dillinger Running Series Compilation (2000). Another partitioned area of the booth has a free hang of works by artists such as Brian Belott and Jonathan Horowitz, and shelves propping up small framed Alex Katz paintings and Danny Lyon photographs. Elsewhere, large works by Arthur Jafa and Rirkrit Tiravanija boldly announce themselves, as well as a small, intimate Elizabeth Peyton portrait of Parinaz Mogadassi, who runs the roving pop-up space Tramps. That leads into a jam-packed spectacle of a booth, where a moody Laura Owens painting is paired with an Ed Atkins video of an old man speaking as he’s lit by firelight, both mounted on walls covered with Thomas Bayrle wallpaper. Visitors this year are greeted by a gigantic Jannis Kounellis installation of a grey sheet of metal hung on the wall with dark winter coats spread flat on it, affixed to hooks that hold them up. This Harlem-based gallery always has the primo upstairs spot, with the booth falling directly in the sightline of those exiting the elevators on the second floor. Likeminded arguments have more recently become mainstream in the country-and around the world-with Germany’s far-right AFD party winning seats in the Bundestag for the first time last year. The book tossed out the strong stance against even the most remote xenophobic rhetoric in German public life since World War II-and it sold in vast quantities. The sentiment is a response to German politician Thilo Sarrazin’s inflammatory 2010 book Deutschland schafft sich ab (“Germany Is Doing Away With Itself”), which argued for restrictive immigration policies. The other highlight here is Rirkrit Tiravanija’s untitled 2012 (freiheit kann man nicht simulieren) (2012), a text piece spray-painted on the booth’s exterior wall (it roughly translates as “freedom cannot be simulated”). ![]() ![]() This engagement with the natural world and ecology would become central to Eliasson’s practice over the following decades. The work-which has been shown at the Museum of Modern Art in New York, SFMOMA in San Francisco, and the Moderna Museet in Stockholm, among other institutions-represents a very personal engagement with the landscape of the artist’s home country of Iceland, completely covering the wall with the white reindeer moss he recalls having laid on in his youth. Olafur Eliasson’s Moss wall (1994) was made when the artist was 27 years old and just starting to gain recognition in the international art world. Two works in particular stand out at neugerriemschneider’s booth. ![]()
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