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Edoardo Tresoldi

James Bridle, ‘The Light of God’, 2012

“We call it in, and we’re given all the clearances that are necessary, all the approvals and everything else, and then we do something called the Light of God – the Marines like to call it the Light of God. It’s a laser targeting marker. We just send out a beam of laser and when the troops put on their night vision goggles they’ll just see this light that looks like it’s coming from heaven. Right on the spot, coming out of nowhere, from the sky. It’s quite beautiful.” - Omer Fast

‘The Light of God’ is a laser targeting marker, which is used to direct hellfire missiles to their intended target.

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John McCracken, Liftoff, 2009

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Hélène Fauquet & Ryan Siegan Smith - La Colline, 2018

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Ben Burgis & Ksenia Pedan, OIKOS, 2015

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Open Mind: New Warped Face Sculptures by Johnson Tsang

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Jennifer Crupi’s Unconventional Jewelry Highlights Gesture As Ornament

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Alyson Provax: Time Wasting Experiment, 2009-2012

you can also find me on instagram @mary_bu__

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Suspended Ocean Wave Installations by Miguel Rothschild

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Lee Ufan, Relatum - Discussion, 2003

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Absalon

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Lucas Simões: White Lies

Titled “White Lies”, this new series of artist Lucas Simões comprises six column-like sculptures made from concrete and paper piles. Simões is presenting his new pieces at Lora Reynolds Gallery arranged in a grid, as if they were pylons for an imaginary building during a construction process. Inspired by Brutalist architecture, these freestanding sculptures combine geometric shapes cast in concrete, stacked on top of hundreds of sheets of paper or pinched between the forms without internal supports or glue, only gravity holds the sculptures together. Paper and concrete seem to cascade toward the ground or climb skyward in a regular pattern, freezing the moment before each pillar topples. Simões’s series is about buildings, their stability and failure, and the consequences of their existence. The idiom of White Lies implies a certain harmlessness. But instead thinking about the phrase in terms of race, it encourages a reconsideration of modern architecture, the people at its helm, and its effects on the world.