Paul Chan

Ruchfeldstrasse 19
April 12–October 19

View of “Paul Chan: Selected Works,” 2014.

This twenty-four-room exhibition surveys Paul Chan’s sculptures, videos, animations, drawings, and projections, as well as his often-political ruminations on life and death. Though he appears to keep his art-making and activism mostly separate, here Chan absorbs a multitude of intellectual and otherwise notable sources, such as Henry Darger, Charles Fourier, Diane Arbus, the Marquis de Sade, Samuel Beckett, and even Batman, the Joker, and George W. Bush, with a twist.

Beginning with one of the earliest works on view, the low-tech colorful animation Happiness (Finally) After 35,000 Years of Civilization (after Henry Darger and Charles Fourier), 2003, which features schoolgirls running, cartwheeling, and defecating in post-apocalyptic-looking fields, as well as in improbable scenes of orgies and massacres, the exhibition continues with this complex, polymathic premise. A flaneur bouncing from popular culture to allusions to cultural (Western) landmarks, Chan questions and reinvents perceptions about the Internet, language, and semiotics. Some of the most exciting pieces on view are the so-called arguments, and the “nonprojections” series that Chan started creating in 2013. Both are made of electrical wires and outlets plugging ordinary objects together, the latter including projectors that project nothing. Meanwhile, Master Argument, 2013, a large-scale floor installation of numerous pair of shoes plugged together with electrical cords and concrete, becomes the ultimate representation of the agora and its vox populi. Through these simplified installations, Chan manages to divert the common towards the universal.

Cristina Sanchez-Kozyreva