REVIEWS

/ Pilar Corrias
Sam Lewitt, A Weak Local Lexicon (MHTL), 2016.
by

Isobel Harbison

I walked straight past the entrance to Pilar Corrias’s gallery. The lights are off and inside it’s dark and quiet. The only work on the ground floor is Sam Lewitt’s A Weak Local Lexicon (MHTL) (2016), an unlit installation which converts the charge from the light source, powered from a... continue reading
View of Ian Cheng, Emissary Forks at Perfection, Pilar Corrias, London, 2015.
by

Matthew McLean

“How long do I need to stay,” I asked a staff member at Pilar Corrias of Ian Cheng’s Emissary Forks at Perfection (2015), “to watch the whole thing?” “It’s a live simulation,” they said of the title work of the artist’s first solo exhibition in London, “so it’s infinite.” Reconsidering,... continue reading
“Phantom Limbs”

PILAR CORRIAS, London

View of “Phantom Limbs,” Pilar Corrias, London, 2014.
by

JJ Charlesworth

People who have lost arms or legs often report experiencing a “phantom limb”—the sense that the limb is still there, or that they can still move or feel it. It’s a good metaphor, too, for current post-internet art debates concerning the shifting relationship of real to virtual, digital to material.... continue reading
John Skoog, Sent på Jorden, 2011.
by

Laura McLean-Ferris

This darkened period following the new year, with only slim pickings of sunlight, is habitually described in the northern hemisphere by one succinct word: depressing. With the celebrations around the winter equinox to keep spirits up now over, people trudge glumly back to work, cheerless. Still, beyond existential gloom, this... continue reading

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Peres Projects
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