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The order of things
The body vaults forward and back, an unlikely inverted pendulum, requiring infinite adjustments, like holding two linked broomsticks balanced vertically on the tips of one’s fingers. And with this movement comes rhythm, intentional navigation, space as a function of time. It is by automatically performing this feat of ingenious physical engineering, almost alien to its form—by walking upright, eyes forward, taking many steps—that the visitor will encounter Laura Langer’s exhibition, Why am I me?
The following exhibition comprises a selection of paintings taken from the artist’s exhibitions thus far, along with unexhibited paintings from her studio storage. Since she works primarily site-specifically, there is an unlikeliness to Langer’s gesture: she is apparently disarming the works of their context and power, depriving them of the architectural homes that gave rise to their existence. Are the works rendered homesick—a theme that evidently preoccupies Langer, as two…
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Press Release
The order of things
The body vaults forward and back, an unlikely inverted pendulum, requiring infinite adjustments, like holding two linked broomsticks balanced vertically on the tips of one’s fingers. And with this movement comes rhythm, intentional navigation, space as a function of time. It is by automatically performing this feat of ingenious physical engineering, almost alien to its form—by walking upright, eyes forward, taking many steps—that the visitor will encounter Laura Langer’s exhibition, Why am I me?
The following exhibition comprises a selection of paintings taken from the artist’s exhibitions thus far, along with unexhibited paintings from her studio storage. Since she works primarily site-specifically, there is an unlikeliness to Langer’s gesture: she is apparently disarming the works of their context and power, depriving them of the architectural homes that gave rise to their existence. Are the works rendered homesick—a theme that evidently preoccupies Langer, as two…
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