Contact About Privacy policy Directory. Editorials Features Reviews. June 18, β Review. Chris Murtha. Having previously explored the mutability of domestic spaces, and how they accumulate the marks and alterations of their inhabitants, Astakhishvili here contends with a formerly industrial site, while still remaining focused on what spaces tell us about humans come and gone.
As she did with two recent exhibitions in Germany, Astakhishvili incorporates collaborative projects and works by peers into her installationβan extension of, rather than challenge to, authorship. June 12, β Review. Xenia Benivolski. When I first visited the wall between Mexico and the US in Patagonia, Arizona, in , the town was celebrating: the redevelopment of a large patch of agricultural land had been halted due to the discovery of traces left by a jaguar.
In one dramatic appearance, the endangered animal had accomplished what land activists had been trying to do for years. May 23, β Review. Travis Diehl. A walkthrough structure, studded with extruded aluminum sculptures like bisected window β¦. May 17, β Review.
Maddie Hampton. In her characteristic, essayistic style, Davey weaves together footage of herself pacing between moss-covered tree trunks to a voiceover narration that contextualizes the work of each artist within their respective biographies. Reprising a handful of motifsβclose-ups of dog-eared book pages, sunlit corners, long shots of her hands methodically turning through photobooks, and other symbols of the daily and domesticβthe film is screened alongside a curated selection of prints and photo books by each artist, so that it functions as a kind of coda for the wider exhibition.
Though Davey maintains a porous boundary between cinematic and physical space, she accentuates the varying capacities of moving, still, and published images throughout the show, highlighting how each of these forms carries and conveys distinct meanings.
