28.2.12

DAVID ZWIRNER: Adel Abdessemed .. and Doug Wheeler.

Before I get into my like love gotta have it commentary on Adel Abdessemed, I want to first address the results on my patient planning regarding Doug Wheeler. As previously mentioned, my first experience was one of being told the wait was going to be over an hour, so of course I immediately left, and decided to return on a morning. So, I arrived at Zwirner's about 15 minutes prior to their opening with tea and pastry in hand to occupy my wait, only to discover that about two dozen people already had the same idea, and had arrived before me. Zwirner: 2. Natalie: 0. So not to be discouraged I planned for a third and final time to make it out to the gallery to "experience" the highly praised work of Mr.Wheeler.  It was 11:45 am, and I waited in line for approximately 1.5 hours, outside before realizing that the 4 hour time slot I had given myself to view this "work" was not going to be enough. I had moved up about 6 people, I was 10 more away from just getting in the gallery, and the wait was an hour from the entrance.  As far as I am concerned, Wheeler's piece succeeded in doing one thing - teaching the art of waiting in line. One word for how I feel about this entire situation: FAIL. Talk about the culmination of the inaccessibility of art, I mean, was this a joke...?


OKAY. Now that that's out of my system let's talk about...


 WHO'S AFRAID OF THE BIG BAD WOLF - ADEL ABDESSEMED
There seems to be a fable theme in the art world these days.  I have to say it, I love that Zwirner allows photography, I mean, Google image search is great, but first hand experience... much better.
Okay, I admit it. I've definitely had a crush on the work Adel makes for a while now. His consideration of scale and it's relationship to the space as well as the viewer has always been incredibly on point. Generally I'm pretty skeptical of obvious iconography such of Jesus Christ, but while I'm not necessarily compelled to enjoy these relic like sculptures, I can appreciate them for their materiality and craftsmanship. The glass microphones were precarious and tall.
Walking into a room with so many quick drawings everywhere really activated the walls. It turned the room into a sort of studio and it became a nice contrast to the stoic feeling of the rest of the gallery. When you take a boat out of its context and place it into a gallery you notice things like, size, color, texture, there are things to be looked at.
This last piece was my favorite, a wall of dead animals. I think about calling it a painting and it makes me squirm with excitement. Are those animals real or not?  I sort of like not knowing, it allows me to toy with the idea that they could be real, which then, makes me sad.  It was disgusting in the best way.


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