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One noticed the vibrant colors through the windows of the ground-floor gallery before even entering it: light pink, dark blue, ocher, emerald, violet. Andreas Duscha approaches photography conceptually, through the use of historical techniques, and he characteristically limits himself to the use of black, white, silver, and—when making cyanotypes—blue. And he is fond of murals. For this exhibition, “Geplante Obsoleszenz I” (Planned Obsolescence I), Duscha tinted the rooms to match the pages of the monograph that accompanied the show as well as a space very different from the white-cube gallery:
A shimmering xerographic map on nine vellum panels caught my eye as I entered Jean-Ulrick Désert’s monographic exhibition “Conspicuous Invisibility” at SAVVY Contemporary. The Waters of Kiskeya/Quisqueya, 2017, centers on a devised visualization of the Caribbean islands and surrounding oceanic contours, infused with detailed drawings of flora, fauna, Creole spirit entities, and colonial vehicles. Each of the islands is marked by a number, as in a colonial survey, but in lieu of an imperial taxonomy, the artist constructs his own legend. This Glissantian urge to resist easy classification presents
The “Weight of the Concrete” marks the first monographic exhibition of Ezio Gribaudo (Turin, 1929-2022) in Austria. It serves as a comprehensive homage to his