“Fresh hell - it’s damned good” is the title of the article written by Adrian Searle discussing the new show at the Palais de Tokyo in the Guardian on Monday 29th November. Here is a snippet below,
“There are lots of works here about the sort of emptiness that feels full and rich: Reinhard Mucha's shadowy cabinets; David Hammon's In the Hood, a hood ripped from a sport sweatshirt and hung head-high on the wall – there's no one in it. Michael Landy's Market, first seen in a London warehouse show at the beginning of the young British art boom in 1990, is empty, too – a sprawling arrangement of grocer's market stalls, with their stacked crates and stands covered in carpets of fake grass. Landy's vacant market could be a joke about minimalism, or seen as a forerunner of today's ultra-realistic installation art; it could be a metaphor for Thatcherism or for an art market where there's nothing to buy. Art, after all, can be nearly nothing. Fresh Hell is full of good things, forgotten things, old and new things. McEwen's enthusiasm and humour and curiosity is self-evident. Artists make good curators.”
The article is very interesting and well worth a read. For me personally, works that I found very enjoyable were the video pieces by Gino de Dominicis, where he’s repeatedly trying to fly, Nate Lowmann’s dirt series and Michaelangelo Pistoletto’s “The Ears of Jasper Johns, 1966” pictured above.
Read more here: http://www.guardian.co.uk/artanddesign/2010/nov/29/fresh-hell-paris-adam-mcewen
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