ALTERRAIN

giorgioscrouch.com

[medverf-deactivated20170502]

Gerhard Richter

[thunderstruck9]

Henry Hudson (British, b. 1982), Sun City Tanning 04:00 - 06:00, 2016. Plasticine on aluminium board, 82 x 59 in.

[thunderstruck9]

Alessandro Busci (Italian, b. 1971), San Siro, Stelle [San Siro, Stars], 2016. Enamel and acylic on canvas, 92 x 190 cm.

[dimshapes]

Hans Bellmer

[cursedimages]

[jm-matiere]

Robert Smithson, Bingham Copper Mining Pit – Utah Reclamation Project, 1973

Wax pencil and tape on plastic overlay on photograph, 20 x 30 inches (50.8 x 76.2 cm)

[aqqindex]

Robert Smithson, Spiral Jetty Detail, 1970

[darkhard]

[xg-xe-xl-deactivated20170506]

[k5e-blog]

[xg-xe-xl-deactivated20170506]

[poetryconcrete]

Roof Construction for United States Air Force Hangar (Model), by Konrad Wachsmann, 1951-1953.

[acopipa]

Mary Shelly’s Frankenstein, Dexter Dalwood

[hell-bib-deactivated20171016]

A controversial young art duo included in the show breaks new ground with Can’t Help Myself (2016), a gigantic robot equipped with a single arm upon whose end a shovel-like object is attached. It is the brainchild of Beijing-based artists Sun Yuan and Peng Yu. Described by the press release as “guard” of sorts, the robot’s duty is to contain a pool of dark liquid resembling blood as it starts to seep away. The more the substance oozes, the more frantic the robot grows, shoveling the liquid in a move that leaves behind smears and traces of red.

Can’t Help Myself, according the curator, “is itself a tale, a story, that we can say comments on our contemporary culture.”

[sickfuture]

[est-nord]

[danismm]

Hotel Intercontinental Managua, Nicaragua 1969