Tuesday, January 24, 2012

Nonillion: Brice Bischoff, Joe Brittain and Katy Fischer @ Regina Rex

Regina Rex has been killing it. In less than the two years that they have been open, they have established themselves as the most professional and consistent gallery in Brooklyn. They’ve made Pergogi look very, very old and have been more professional than anything in the Bogart building. Nomillion, curated by Regina Rex’s own Lauren Portada, lives up to the gallery’s established level of quality.

The show contains work that actively courts nothingness or the unknowable, as far as I can grasp from the press release which is just a quote from a woman whose bio begins with her declaration that she is in fact a human (fyi, I have a friend who hooked up with her at a party and she is at least half cy-borg). As abstract as this description might sound, the work for the most part supports the statement quiet nicely. There is a marvelous ink drawing by Katy Fischer of an undulating sea where the texture in the water is transfixing, as it leads into an empty sky of warm blank paper. The show contains three photographs which tend to be a rarity for Brooklyn exhibitions, but Brice Bischoff’s pictures hold their own with three black and white pictures of a blurry object on a pedestal with some charming printing interventions that dilute the possibility of interpreting the images.

The show goes a little astray with Joe Brittain’s sculptures, where a large magic eight ball-like object with no top houses a floating cork with a pin in it, creating what best could be described as a science fair project in an existential void. This is paired with a large sheet of metal with salt on it that has been electorally charged creating a large rusting topography, which again feels like the science fair project of a nihilist. As much as both sculptures hold to the not knowing nothingness of the show, Brittain’s third piece made up of a large thick cable hung from the wall running through bones, coal, and glass globes, feels out of place, the coal/bones read at times like drift wood in the sculpture leaving me flat, and makes me think too much of craft projects, but it’s the only unresolved piece in an otherwise very tight show.

Through Feb 26th


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