Una mostra di nuove opere di Harold Ancart e Esther Kläs
At first glance the work of Belgian, New York-based Harold Ancart and German,
New York-based Esther Kläs couldn't be any more different. And yet, for all their
formal dissimilarities, they share a kindred preoccupation with questions of
materiality, presence and time. Where Ancart's quasi-immaterial geometric wire
sculptural interventions, reflective floors and dust mural drawings could be said to
promote a heightened awareness of the viewing body in space, Kläs's humanoid
and primitivistic plaster and resin sculptures humorously contest that same body
by virtue of their evocative and disarming zeal to abstractly ape it
the timeless and intensely materialistic quality of these blocky, three-dimensional
beings offers a marked contrast with Ancart's dust murals, which inevitably speak
to the passage of time with a certain elegiac gloom. Thus is the conjunction of
these two artists sure to produce a complex and understated drama of form and
texture, as droll as it is forlorn, and as immediate as it is meditative.
Emily Harvey Foundation
San Polo, 387
C L E A R I N G is an exhibition space that opened in Brooklyn, NY in 2011.
Previous shows include BADLANDS (Harold Ancart & Jacob Kassay), STONE
SOUP (Thomas Fougeirol & Esther Kläs), and TRANCHES DE SAVOIR (at the
Payne Whitney House, New York, NY). PIERRE BROSSOLETTE, first US
exhibition by French artist Loïc Raguénès, will open on May 26.