Zoe Leonard at Galleria Raffaella Cortese

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Like the Calendar's mechanization of time, photography too asserts its frame as an artificial blocking. Of the world it renders like little cubes of meat, morsels. Of life that it embalms. Real geopolitical borders if you know what I mean. So the attempts to blur these lines with the filmic language of frames, with TIME, an attempt to give artifical motion, motion, life, is an admittance or benevolence, to the world butchered into cuts. Suppose you were about to be executed, which size axe would you choose for your piecemealing?

Zoe Leonard at Whitney Museum

Stuff, decay, waste, time; data visualization has become hot button for business, the ability to represent comes the ability to wield it, and not necessarily inhuman, around for ages with question of how to mark time. There is of course the calendar's abstraction, a system individuating all dates in a grand uniform scale whose rectilinear crates go from now to infinity, days broken into increasingly smaller amounts, paid hourly, an inhuman scale for the mechanization of bodies. The calendar doesn't conjure passing, only compartmentalization, tomorrow's meeting, the calendar is the future, schedules. In attempts to see subjective scales of time, we see wear on shoes, stores closing, passports stamped, fruit rotting in vain. Leonard's practice seems in establishing marks to gauge the rise and fall of water, the rising and falling breath of the city. Stores close, cities revitalize, we pack and move, the body wears, the books become obsolete, our fruits into the floor, the water changes but the falls are still the same, is the point seemed to be made.