Robert Gober, Waterfall, 2015–2016
Robert Gober
"Shut up." "No. You Shut up"
Matthew Marks / Nov 20 – Dec 23, 2021
New York, USA

During our long winter of isolation, we spent a lot of time looking out of windows. Robert Gober, meanwhile, seems to have spent his time looking into them. The astonishingly life like objects in his new untitled sculptures, crafted from wood, gypsum, epoxy resin and other materials, sit behind panes of glass in square frames as if on a sill. The earliest of these prescient works, begun in 2018, includes a gentle cascade of paper snowflakes that appear to condense into white Styrofoam packing peanuts. A set of linen curtains, dipped in resin, have frozen mid-flutter. Two works feature fabricated cans of B.A. Farm Grease framed by curtains in a chintzy floral print, once again motionless in an imaginary breeze. Gober has crafted the flaking sashes on these windows from scratch, like everything else that lies within them. Few artists since Joseph Cornell have so deftly cut apertures into the subconscious, and these works permit multiple readings to trickle through them, from fond memories of home to recollections of confinement.

At Matthew Marks, the sculptures are presented alongside a series of recent drawings, all completed in the past year, which depict barred windows embedded in human hands and feet. They invite us to imagine an escape from the prison of our own flesh. As if to drive the point further, at the far end of the exhibition, a square hole cut from a man’s suit jacket, mounted to the wall, offers a view onto a real cascading waterfall. A room of indeterminate height and depth lies within that paternal cavity. Waterfall (2015–16) is one of Gober’s most arresting works, a reminder of all that flows behind our starched facades. If escape is even possible, its route will lead there – not out, but in. –Evan Moffitt

  • Five Easy Pieces
    Jan 31 – Mar 16, 2024
    Croy Nielsen
    Wien, Austria

    Time is sentient in Five Easy Pieces. Wrapped in their ardent and solemn thoughts these three artists say no more than is necessary. They speak a laconic visual language, for these inductive states are a feeling and a gesture marked by the implacable need to express the presence of a state of being, for a form cannot measure, nor words define the vastness of the ineffable. (more…)

  • 13 Stories of War
    Ukrainian Warchive

    Welcome to the book release of 13 Stories of War, published by Ukrainian Warchive supported, among others, by the Hasselblad Foundation. In the book, The Ukrainian Warchive has brought together visual essays created by 13 Ukrainian photographers and artists responding to the profound impact of full-scale war on their country and its people since the Russian invasion in February 2022. (more…)

  • Eoghan Ryan: Against the Day
    Feb 1 – Mar 24, 2024
    Edith-Russ-Haus for Media Art
    Oldenburg, Germany

    Irish artist Eoghan Ryan’s solo exhibition Against the Day at the Edith-Russ-Haus for Media Art spans moving image, installation, performance, puppetry, and collage. His new commission, the video installation Circle A (2023), premieres in the company of three installations from recent years. These works explore the intricacies of how power is communicated through media culture and language. In adapting personas, characters, and unrehearsed conversations, they expand into fable-like takes on the collective and the personal as “institutions”. (more…)

  • Grey Crawford. Chroma, 1978–85, Vol 1
    Beam Editions

    In 1978 Grey Crawford created a body of colour photographic work that was so radical in its aesthetic and technique that few people to this day understand how it was made. Chroma documents late 70s Los Angeles in a period of radical urban transformation. Scenes of vernacular architecture, demolition sites and everyday places are contrasted with graphic forms that float on the surface and sit within the image. (more…)