Joseph Tang, Paris

When an object is depicted in two dimensional mediums one needs to mentally imagine the totality of the object through a singular facet, a misinformed truth of the physical totality. But if a photograph is a presupposed evidence of something, and a painting is an authoritative notion of the object, how does one reconcile the physical truth of an object, the total property of an object/sculpture?

Kosuth had analysed this notion conceptually. Curiously I wondered what Kosuth will do with the internet, with the Wikipedia explanation of his own work.  

What becomes of a painting when it should rationally be read as a sculpture; an object documented that is clearly re-presented as a photograph; a sculpture that negates its voluminousness yet lyrically poised as one? In what language of form are we to talk about a wikipedied form?

In presenting works by Sean Bluechel, Julie Béna, Adam Cruces, Pepo Salazar, we set out to play with these elements. 
It is a puzzle about form, a summer crossword that hopefully makes no sense.




Pepo Salazar

Untitled, 2016
Courtesy Joseph Tang, Paris

Julie Béna

You are my hole, 2016
Fiberglass, skin colour paint
Courtesy Joseph Tang, Paris and Syntax, Lisbonne
©Bruno Lopes

Adam Cruces

Pumpkin, 2016
Courtesy Joseph Tang, Paris

Adam Cruces

Pastel, 2016
Installation view 
Courtesy Joseph Tang, Paris