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Funny: Ryan Gander sets a lion to play in an open cube by Sol Lewitt; Laure Provost installs a video face down to the floor, and wishes in her OTT French accent that ‘the work was deeper’:..
Hypnotic: the way Haroon Mirza’s triple stack of would-be-banal videos of a Tesco filmed from a car at night interact.
American artist Justin Adian’s first UK exhibition is in line with current trends in deconstructing painting (yet again! ‘Bikini’, ‘Baffle’ and the creased but intact ‘Never Break’ are among the knock-about titles.
The jokes are consistent with the material: the canvas is wrapped around the sort of foam in which paintings are normally transported – so they are in a way the packaging of art moved inside to masquerade as art.
but Marian Goodman’s is heroically scaled, and kicks off with a refreshing account of Richter’s recent work: not the auction-friendly strands of scraped abstracts or blurred photo-realism, but…
a seven-pane glass sculpture; eight of the rigorously self-deconstructing photo-derived ‘Strip’ versions of his own painting, the biggest ten metres wide; nine explorations of the grey monochrome, with oil on board, oil on glass and enamel behind glass showing their different effects; eleven ‘Flow’ paintings – multi-coloured pools of paint, its movement stilled by being trapped beneath glass; a particularly good set of 17 small oil on photograph works; and four colour-square works, cheekily installed to hint at the even grander space in which Richter has employed the motif in stained glass.
Of not only reinventing, but wholly paring down and fundamentally abstracting his own abstraction.
These shows both reach apparently painterly ends by ingenious mechanical means.
This Adjaye-designed gallery isn’t quite Cologne Cathedral, but is closer than most…