Artist, are you following the Crystal or the Flame?
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- Sam Moyer, Untitled, 2013, ink on canvas mounted to wood panel, 213,4×152,4 cm.
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- Oscar Tuazon, Playboy Papercrete, 2012/2013, Concrete, 165x165x 12 cm, weight approx. 110 kg. (detail).
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- Cheney Thompson, Pedestal 20, 2011, Formica and wood, 61X63,5×66 cm.
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- Julia Dault, Untitled 24, 3:30 pm – 6:00 pm, March 4, 2013, Plexiglas, Formica, Everlast boxing wraps, 204x130x108 cm.
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- Mateo Lopez, Casa Desorientada (Disoriented house) 2013, Plywood, steel, glass and mixed media, 4,83×4,83×3,3 m.
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- Lucien Smith, Untitled, 2012; Guitar body, oil pastel, cardboard, 43.2×27.9×5 cm.
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- Hugh Scott-Douglas; Front: Torn Cheque, 2013, Laser cut linen in road case, 32x110x13 in. Back: Chopped Bill, 2013, Dye sublimation on linen in road case, 42x110x13 in.
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- Katja Novitskova, Approximation III, 2013, digital print on aluminium, cutout display, 200x150x18. Courtesy of Kraupa-Tuskany Ziedler.
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- Tobias Putrih, Pollymagoo inverted (arms and legs), 2012, aluminum felt.
“Crystal and flame: two forms of perfect beauty that we cannot tear our eyes away from, two modes of growth in time, of expenditure of the matter surrounding them, two moral symbols, two absolutes, two categories for classifying facts and ideas, styles and feelings, A short while ago I suggested a “Party of the Crystal” in twentieth-century literature, and I think one could draw up a similar list from a “Party of the Flame”. I have always considered myself s partisan of the crystal, but the passage just quoted teaches me not to forget the value of the flame as a way of being, as a mode of existence. In the sane way, I would like those who think of themselves as disciplines of the flame not to lose sight of the tranquil, arduous lesson of the crystal.”
– Italo Calvino, Six Memos for the next millennium, 1985-1988.
July 17, 2015
