REVIEWS

/ Galerie Chantal Crousel
Haegue Yang’s “Quasi-ESP”

GALERIE CHANTAL CROUSEL, Paris

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

GALERIE CHANTAL CROUSEL, Paris

View of “Dark Waters,” Galerie Chantal Crousel, Paris, 2014.
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Sabrina Tarasoff

The sea is said to speak to us in an amalgam of mysterious and alluring analogies, which are drawn from its depths and, at times, swallowed all too easily by the contemplative desires of artists, poets, and theorists alike. The metaphors are countless, yet invariable—from the reflective surfaces of still... continue reading
Haegue Yang’s “Ovals and Circles”

GALERIE CHANTAL CROUSEL, Paris

View of Haegue Yang’s “Ovals and Circles,” Galerie Chantal Crousel, Paris, 2013.
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Mara Hoberman

Hot on the heels of her first solo exhibition with Chantal Crousel (“Ajar” at the gallerist’s satellite showroom, La Douane, October 18–December 7, 2012), Haegue Yang’s current show at Crousel’s flagship gallery moves beyond the venetian blind installations and drying rack sculptures for which the South Korean-born, Berlin-based artist is... continue reading
Anri Sala

GALERIE CHANTAL CROUSEL, Paris

View of Anri Sala at Galerie Chantal Crousel, Paris, 2011.
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Vivian Sky Rehberg

Guests were asked to bring their sturdy invitation cards, perforated with a code containing four seconds of music (Invitations, 2011) to Anri Sala’s opening at Galerie Chantal Crousel. Throughout the evening, those cards were fed into a barrel organ in the courtyard, which played familiar notes in a discordant fashion.... continue reading
Abraham Cruzvillegas's "La Petite Ceinture" at Galerie Chantal Crousel, Paris
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Chris Sharp

When you consider that Devo stands for "devolution"—the band's neologism for the dysfunctional, herd mentality of modern society—you begin to get a sense of the dialectical complexity that underpins Abraham Cruzvillegas's exhibition. Among the handful of curios that can be found in the voluminous, photocopy publication that accompanies this exhibition are a couple of black-and-white thumbnail images of the band Devo. Now it might not be immediately apparent what an... continue reading

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