Felix Gonzalez-Torres at Andrea Rosen

(link)

"Like the Don Quixote of Pierre Menard by Borges; it’s exactly the same thing but it’s better because it’s right now. It was written with a history of now…” The now distance between becomes the very thing that is felt, rising again in the current political decline. Time passes, causing eventual significance to rise and fall in it, events that become distant are felt against against the glaring alarm of today's violence, and the space between, the erosion and swelling of meaning, of emotion, like lungs breathing, like a tide going in and out over Aunt Jo's Kitchen 1965, like candy refilling and taken.


See too: On Kawara at the Guggenheim, Alejandro Cesarco at Midway Contemporary Art

Roni Horn at Museum de Pont

(link)

"She has linked her use of doubled forms or images and the ambiguity of many of her pieces to androgyny. Consequently, her work has been seen as an indirect form of identity art."¹

"If androgyny ultimately expands the possibilities of identity beyond its stable, gendered binary, Horn's paired works propose the untenability of the fixed binaries on which minimalism historically staked its own critique."²

"For Horn, the terrain of likeness - that which is similar, the same yet different, akin, or simply close - encompasses a panorama of experience. Her work dwells of differences of degree that, she suggests, constitute as profound a representational problem as the starker discrepancies that conventionally give us our social and sexual selves. "³

The androgynous minimalism of Horn's pointed critique of Judd's specific object: instead of the remarkable unit⁴ Horns work arrests flows in their state of transition, glass as a "supercooled liquid"⁵, androgyny the flow between genders stabilized, like taking a photo of river to supercool its movement, frozen transition, a gender like glass.

1. Mignon Nixon Roni Horn Artforum 2009
2. Roberta Smith, NYTimes, 2009
3. Zachary Rottman, UCLA M.A. Dissertation, 2014
4. unit is also slang for penis.
5. Roni Horn, in conversation with Jarrett Earnest Brooklyn Rail 2013


See too: Nancy Lupo at Swiss Institute, Tony Conrad's Glass