“How then can we clean centuries’ worth of waste?” asks Françoise Vergès, reflecting on the devastation wrought by imperial conquests in the Global South. The even more ephemeral Black Curtain (2007–8), a delicate structure of reeds, paper, and string by the late Nikos Alexiou suspended on the wall nearby, is a tense yet tenuous membrane that seems to hover on the thresholds of. Nikos Podias’s Fragment (2022) is a delicate lattice constructed of fragile found papers such as teabags, with stains derived from rose petals and black tea evoking the “blood, sweat, and tears” commonly attributed to acts of painstaking creation. The repetetive manual processes involved in the making of some of these works seem to express transformations more spiritual than physical, detected visually, if at all, in barely perceptible marks on the surfaces or slight irregularities in form. The group show “Repetitions”-featuring artworks by Nikos Alexiou, Beppe Caturegli, Panos Charalambous, Thalia Chioti, Maria Ikonomopoulou, Alekos Kyrarinis, Christina Mitrentse, Nina Papaconstantinou, Nikos Podias, Efi Spyrou, and Myrto Xanthopoulou-presents meditations on the theme. Yet the word embodies a paradox: in every iteration there is a difference, if only because it occurs in a different moment, a movement forward in time and space. To the extent that repetition signifies a failure to progress, it is anathema to our industrious modern society. Opacity-and the right to stake one’s claim to it-was a concept crafted by Édouard Glissant in his Poetics of Relation (1990) as a means. That scene was at the front of my mind as I toured the two floors, attempting to parse the show’s manifold logics, feeling a bit rebuffed at every turn. Opacity is the name of Syms’s game in “Loser Back Home,” the artist’s first exhibition with Sprüth Magers, in her native Los Angeles. She gestures in the general direction of the work: “It’s just a family, right?” Palace, skeptical and evasive up until this point, finally shoots back: “Haven’t you read Saidiya Hartman? Of course I’m responding to the African desperate. “It’s all just so figurative,” comments Rose, the snidest, and most overtly racist, of the bunch (played perfectly by Syms’s longtime gallerist, Bridget Donahue). In turn, each teacher performs their own version of art pedagogy in Palace’s general direction, lobbing vague questions and cloudy critiques her way. Roll the Sandwich through your Spellbinders Platinum Machine.Īvailable in PL-127 Universal Plate System sold separately and required for use in Spellbinders Platinum Machines.In an early scene of The African Desperate (2022), Martine Syms’s first feature film, her protagonist, a Master of Fine Arts candidate named Palace, hosts four professors in her studio for a final review. How to Build a 3D Embossing Folder Sandwich:įrom the Bottom, place Platform Base A, add 3D Embossing Folder with Paper Inside, and top with Adapter Plate D. Transform cardstock, patterned paper, vellum and more into stunning textured elements to bring your project up a level. This is not just your ordinary embossing folder! 3D Embossing Folder shapes and sculpts paper into amazing works of art. For the most detailed impression, lightly mist the cardstock on both sides with water before embossing. This versatile 3D Embossing Folder can texturize a surface of various card sizes from A2-size 4.25 x 5.5-inch to a Slimline Size 3.5 x 8.5-inch. Flurry of Snowflakes 3D Embossing Folder is a 5.50 x 8.50-inch embossing folder that has different snowflake and dot designs in an all over pattern.
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