It has become a commonplace within contemporary art discourse to speak of placing objects in conversation with one another. In Gordon Halls AND PER SE AND, held at the Temple Contemporary, this phrase is stripped of its curatorial affectation and retooled, amplified.
With a shift of one apostrophean almost unmentionably minor mistakewe move from the precipice of the wild to a land of no iron slacks.
Like much of Anicka Yis work, the artists current solo exhibition at the MIT List Visual Arts Center, 6,070,430K of Digital Spit, manages both physical restraint and sensory overload. A slim disc of light radiates in the center of the dimly lit gallery, whose floors are carpeted a dusty salmon tone and walls painted the color of dried blood.