Whenever I see one of Catherine Telford Keough’s sculptures, I’m reminded of half-melted heaps of snow, embedded with various lost items they’ve accrued during the long winter months: candy bars, pills, bottle caps and gum wrappers suspended in the frozen mass. Her evocative installation, Carriers (Gravity-Fed) (2024), sits nicely alongside works whose material explorations provoke a similar sense of melancholy: Jes Fan’s Interface I and Interface II (both 2024), the soy skins of which seem to melt off their supports, and Lotus L. Kang’s shed (Receiver Transmitter (Butterfly), 2023–24), in which rolled up prints and neatly folded mats gesture at an absence. All three artists have left Toronto for New York in recent years.
この記事は Frieze の Issue 243 - June - August 2024 版に掲載されています。
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この記事は Frieze の Issue 243 - June - August 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
I'm trying to follow my instinct: to have confidence and not get into my head too much about what other people are expecting.'
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Dean Sameshima
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Greater Toronto Art 2024
Museum of Contemporary Art, Toronto, Canada
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In recent years, the former German Democratic Republic (DDR) has been the subject of a reappraisal that, while not seeking to redeem the stiflingly authoritarian state, has attempted to present a more nuanced overview of its social and cultural realities.
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