REVIEWS

/ SOFIA LEMOS
Haegue Yang’s “Quasi-ESP”

GALERIE CHANTAL CROUSEL, Paris

View of Haegue Yang’s “Quasi-ESP,” Galerie Chantal Crousel, Paris, 2017.
by

Sofia Lemos

Not having a story to tell from the beginning or possibly starting from the middle is how Taoism describes time: continuity without a starting point. Stories abbreviate and expand in “intensiveness,” a term Haegue Yang uses, in dialogue with Jimmie Durham, to describe a mode that, similarly to belief, can... continue reading
“Ways of the Hand”

MAISTERRAVALBUENA, Lisbon

View of “Ways of the Hand,” Maisterravalbuena, Lisbon, 2017.
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Sofia Lemos

When lost for words, hands are tools to point, wave, and otherwise indicate meaning. While much of this form of communication is intuitive, firsthand knowledge is highly performative: as hands trace airborne paths, their gestures form recognizable patterns that may relay receptiveness or fear, in a cognizant yet affective process... continue reading
Gallery Weekend Berlin

VARIOUS LOCATIONS, Berlin

Charlotte Posenenske, Series B Reliefs, 1967-2017.
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Sofia Lemos

In the wake of the events of May 1968, German Minimalist Charlotte Posenenske wrote in Art International that “it is difficult for me to come to terms with the fact that art can contribute nothing to solving urgent social problems.”(1) Posenenske’s “‘Statement’ [Manifesto],” which initially meant to examine ownership and... continue reading
Von Calhau!’s “Rotornariz”

GALERIA PEDRO ALFACINHA, Lisbon

View of Von Calhau!’s “Rotornariz,” Pedro Alfacinha, Lisbon, 2017.
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Sofia Lemos

A nose—the lead character in Nikolai Gogol’s short story “The Nose” from 1836—fashions itself as a decorated civil servant, so esteemed one can hardly question its privileged stature, as such cachet ought to be unquestionably deserved. No two noses are the same, Gogol notes. Some straddle along Nevsky Prospect without... continue reading

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