Untitled, 2011 | © Thea Djordjadze, Courtesy Rat Hole Tokyo; Sprüth Magers
Untitled, 1962. © Estate of Craig Kauffman, Courtesy Sprüth Magers
The School for Objects Criticized, 2010. Installation view ‘La Critique de L’Ecole des Objets’, Palais de Tokyo, Paris, 2011. © Alexandre Singh, Courtesy Sprüth Magers
Thea Djordjadze’s sculptures often attempt to harness the dimensions of space and time. Combining fragile materials with stable structures, her site-specific installations testify to the artist’s keen interest in modernist architecture and design of the early 20th century. By making use of architectural remnants of the gallery space and in the juxtaposition of objects revealing human traces, she also makes reference to Surrealism and Minimal Art, but with the further twist of being inspired by Eastern European folk tradition.
Craig Kauffman’s first solo show at Sprüth Magers is a selection of early works on paper and plastic pieces from the 1960s. These works examine the diagrammatic and fragmented abstract female form as a precursor to his later three-dimensional wall-reliefs. The artist shared an interest in new materials and the mechano-erotic female form with Marcel Duchamp and Francis Picabia. A selection of their work in the show is included to create a dynamic dialogue.
Whether in two, three, or four dimensions, Alexandre Singh’s work explores the history of philosophy, science, and cultural production through figures as varied as Aristophanes, Molière, and Woody Allen.
Singh’s theatrical light and sound installation “The School for Objects Criticized” exchanges the traditional roles of artwork and visitor by placing on pedestals a group of talking objects, who discuss art, culture, technology, and life and death. Like in Molière’s 1663 play “The School for Wives Criticized,” Singh’s characters begin a mise-en-abyme discussion. But here the topic is the merits or demerits of an exhibition by the artist Alexandre Singh, which is similar to the installation on display.