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“All is number” is a dictum attributed to the philosopher an d father of modern mathematics\,
Pythagoras. The contemporary understa nding of this dictum may well be that everything in the
universe is kn owable and can be reduced to measurable components\, logical explanationsand cause-effect ratios. Rational as this dictum sounds however\, the P ythagoreans actually
believed that numbers were in fact the essence of things.
Introducing a distinct and esoteric interpretation of this ph rase the Pythagoreans ascribed
specific meanings and characteristics t o each number. The number three\, for example\,
represented harmony\, while the number six represented creation. The study of mathematics\,
the basis of all contemporary hard science\, is actually rooted in two worl ds\, one of quantifiable
reality and one that contemplates the immeasu rable.
The exhibition opens onto an installation of six white painting s by Olivier Mosset in the front
gallery. Each monochromatic surface c onceals two preceding histories. In the early 1990s\, these
monochrome s\, then of various colors\, were exhibited together. Years later\, all pai ntings in this
series were painted uniformly white and exhibited again . Not completely satisfied with the
results\, the artist re-painted ea ch work with a different white paint a few years later. Each
resulting monochrome is an accumulation of monochromes.
Installed alongside Mos set’s monochromes\, are two sets of three consecutive date paintings by
On Kawara. Despite the congruency of their strictly factual format\, each three-day period marks
an intense phase of mounting cultural fears\, first in anticipation of a space shuttle disaster (The
Discovery) then in reaction to an unanticipated natural disaster (Hurricane Katrina).
In the center gallery are three photographs of windows staged and captured by Luisa Lambri.
Each potential vista from Casa Luis Barragán in Mexi co City is occluded to varying degrees by
an articulated interior shut ter that the artist folds to modulate light. Lambri at once
acknowledg es and inverts the traditional hierarchy of a commanding view to the outsid e by
privileging the domestic space of architecture. Her considered ex trapolation pays homage to
Barragán’s skillful integration of interior and exterior worlds.
In the back gallery\, Heimo Zobernig’s installat ion of six projection screens addresses the
inescapabilty of subjectiv ity in aesthetic perception. Rather than obscure the desire for
psycho logical projection\, Zobernig elicits us literally by presenting six portab le screens ready for
reception.
By virtue of their proximity\, An oka Faruqee’s recent moiré paintings could be mistaken for vivid
telev isual noise that escaped the neighboring screens. Close up\, one finds that the tidy optical
patterns are more aleatory than they might seem. Usi ng custom made-rakes and tools\, Faruqee
lays down and sands multiple layers of acrylic to develop ornate moiré patterns over time. She
isol ates these unwanted graphic effects common to printed imagery and redirects the
malfunction into an aesthetic end goal. Her insistently optical w orks obfuscate their inherently
physical processes. As is the case wit h Mosset’s monochromes\, temporal evidence reveals itself
at the edges .

DTEND:20130518 DTSTAMP:20140916T113950 DTSTART:20130411 GEO:40.745209;-74.005394 LOCATION:Koenig & Clinton\,459 West 19th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:3 & 6 \, Anoka Faruqee\, On Kawara\, Luisa Lambri\, Olivier Mosset\ , Heimo Zobernig UID:269164 END:VEVENT BEGIN:VEVENT DTEND:20130411T200000 DTSTAMP:20140916T113950 DTSTART:20130411T180000 GEO:40.745209;-74.005394 LOCATION:Koenig & Clinton\,459 West 19th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:3 & 6 \, Anoka Faruqee\, On Kawara\, Luisa Lambri\, Olivier Mosset\ , Heimo Zobernig UID:269165 END:VEVENT END:VCALENDAR