PaperCity Magazine

April 2017 - Dallas

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is back up, as one of two Huyghe works on display in honor of his being named the 2017 Nasher Prize Laureate. Creating art as something the viewer can experience, interact with, and participate in is something Golia and Huyghe have in common. "Pierre is a sculptor of experiences," Golia says. "The exhibition becomes the sculpture itself." Much like Huyghe, Golia's work has been called outlandish, even theatrical, with works ranging from an enormous lustrous orb positioned atop the Standard Hotel in West Hollywood to a disappearing act he staged in 2006, during which he literally disappeared from New York, only to reappear just shy of a month later to give a lecture at the Academy of Arts in Copenhagen about his off-the-grid journey. This month, the megawatt Gagosian Gallery exhibits Piero Golia's work during the gallery's inaugural showing at the Dallas Art Fair. What's in store? Well, for the Los Angeles Art Fair in 2008, Golia smashed up a passenger bus to fit inside the petite booth. One can only imagine what he plans for Gagosian's space at FIG. THE NEW WAVE: MICHAEL MAZUREK AND JESSE MORGAN BARNETT "As my career is in its nascence," says Michael Mazurek, Dal- las-based artist and co-founder of the artist-run nonprofit Dallas Biennial, "it's reassuring to witness a prolific artist pursue ideas that are congruous to your own." For Mazurek and his Dallas Biennial co-founder, fellow Dallas artist Jesse Morgan Barnett, Pierre Huyghe's artistic process has directly influenced their burgeoning bodies of work. "Huyghe's uncanny juxtaposition of the pragmatic and romantic can discombobulate ambitions entrenched in the customary production within a plastic arts studio," says Barnett of the French artist's nontraditional ap- proach to space, sculpture, and audience-art interaction. As a result, says Barnett, "I've ventured to adopt nomadic enterprises, trans-disciplinary correspondence and conceptualizing my work and time as indefinite archipelagos." Translation? During last year's Dallas Art Fair week, Barnett staged a two-hour event at The Power Station's Culture Hole. Dubbed L'ATTICO, the performance-art experience invited the audience to participate by interacting with the crawl-hole space — and as a result have the opportunity to win various prizes, from a plot of land in Texas to a 2016 Yamaha S400 motorcycle. "The traditional expectations of viewership became fitly animated," Barnett says. Mazurek's work is particularly focused on conceptualism, forcing the audience to interact and absorb work often in nontraditional manners. It's Huyghe's dOCUMENTA (13), Untilled, that serves as a particular reference point. "When a work of art causes you to ask what it is you're looking at, it possesses a special power," he says. "For most people, it's disconcerting for something to lack a definitive explanation. However, The beauty of art is that it doesn't have to be defined — it can simply exist." Pierre Huyghe's Untitled, 2013-2014, on view at the Nasher Sculpture Center through April 30 JOSHUA WHITE TEXAS MODERNISTS EXHIBITION April 6-May 30, 2017 The Last Appeal by Margaret Putman (1913-1989) Featured Artists Otis Huband Mark Lavatelli Margaret Putnam Dan Rizzie ROUGHTONGALLERIES.COM BRIAN@ROUGHTONGALLERIES.COM 3702 FAIRMOUNT DALLAS, TEXAS 75219 TOLL FREE 866.273.3797

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