{"id":6842,"date":"2015-03-05T16:13:00","date_gmt":"2015-03-05T16:13:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=6842"},"modified":"2022-12-14T16:20:38","modified_gmt":"2022-12-14T16:20:38","slug":"paper-scissors-rock-sarah-sze-at-victoria-miro","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/paper-scissors-rock-sarah-sze-at-victoria-miro\/","title":{"rendered":"Paper, Scissors, Rock<br>\u2014Sarah Sze at Victoria Miro"},"content":{"rendered":"\n<p><strong>Sarah Sze solo show<\/strong>&nbsp;<a href=\"http:\/\/www.victoria-miro.com\/\"><strong>Victoria Miro Gallery I<\/strong><\/a>&nbsp;(16 Wharf Road, London N1 7RW),&nbsp;<strong>Jan 30\u2013Mar 28, 2015<\/strong><\/p>\n\n\n\n<p>After representing the American Pavilion for the 2013 Venice Biennale, Sarah Sze has now moved on to occupy both Victoria Miro\u2019s spaces in London, in what is in fact Sze\u2019s third exhibition with the gallery. However some might remember that as much as 15 years ago Sze made an installations at London\u2019s ICA, using her then characteristic materials of choice\u2014Q-tips (cotton swabs), tooth picks\u2014and other man-made multiples from discount \u201cpound\u201d shops in an intricate Seussian constellation. By contrast these works now on display appear, at least on the surface, to be more restrained and the materials have been refined in nature\u2019s favor, a transition that roughly began with her New York Asia Society installation in 2011. Yet there is also artifice in the sparser elements of clay, threads, metal, paper and stone . . . or in this case faux rocks made from textiles bound over wire armatures.<\/p>\n\n\n\n<p>The Wharf Road location is used to display pieces Sze began working on in September 2013, right after the Biennale, during a residency at the Fabric Workshop and Museum, Philadelphia, where she experimented with printing on the construction fabric Tyvek<sup>1<\/sup>\u00a0\u2014thus what was seen\u00a0<em>in situ<\/em>\u00a0in Philadelphia Sze has now reconfigured in London.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"687\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1268.png\" alt=\"\" class=\"wp-image-6843\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/xlawglmw-image-1268-231x300.png 231w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1268-115x150.png 115w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1268.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Detail of \u201cStill Life with Desk\u201d, 2013-2015 (Courtesy the Artist and Victoria Miro, London \u00a9Sarah Sze)<br>\u8428\u62c9\u00b7\u65bd\uff0c\u300a\u6709\u684c\u5b50\u7684\u9759\u7269\u300b\uff0c2013-2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"372\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1269.png\" alt=\"\" class=\"wp-image-6846\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1269-300x211.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1269-150x106.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1269-426x300.png 426w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1269.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Detail of \u201cStill Life with Desk\u201d, 2013-2015 (Courtesy the Artist and Victoria Miro, London \u00a9Sarah Sze)<br>\u8428\u62c9\u00b7\u65bd\uff0c\u300a\u6709\u684c\u5b50\u7684\u9759\u7269\u300b\uff0c2013-2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"353\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1270.png\" alt=\"\" class=\"wp-image-6849\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1270-300x201.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1270-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1270-449x300.png 449w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1270.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Sarah Sze Installation view, \u201cStone Series\u201d 2013-2015 (Courtesy the Artist and Victoria Miro, London \u00a9 Sarah Sze)<br>\u8428\u62c9\u00b7\u65bd\uff0c\u300a\u77f3\u5934\u7cfb\u5217\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2013-2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<p>The entrance-level piece, \u201cStill Life with Desk\u201d, was originally site-specific, as it is modeled on the actual Philadelphia reception desk; however, in general terms it is the back office made center stage. Sze likes to say \u201ceach piece should feel like a studio visit\u201d, hence the discarded coffee cups (imported from the American state-owned passenger-rail company, Amtrak) and ordered chaos of stationery. The work conjures up a kind of suspended moment, as if the artist has just stepped out of the room. The desk is made of familiar transparent wire cubes, but in line with her trademark disruption of scale, they could also be architectural models for office blocks and the overhanging lights could take on a second identity as street lamps. The colorful elements are minimal\u2014a couple of cacti, some blue masking tape\u2014and it all sits on color samples that stem from the work upstairs. Elsewhere we see dripping wedges of clay, some macram\u00e9 on a clipboard and random photographs, all governed by the principles of \u201cfeng shui\u201d\u2014another recent addition to her work. The work is not a facsimile replica of the Philadelphia piece (about 20% of the objects were found locally), but she is happy to let individual works evolve.&nbsp; This is firmly within the tradition of her 3D drawings, that \u201cdraw\u201d one in with the \u201cresidue of emotion\u201d and emphasis on negative space.<\/p>\n\n\n\n<p>Upstairs a game of rock-paper-scissorsis at play with her \u201cCalendar Series\u201d which comprises three months\u2019 worth of bowdlerized\u00a0<em>New York Times<\/em>\u00a0front pages, which lie on the floor, their photos of current news events cut out and replaced by photographs of natural elements: stones, fire, earth and sky, all potentially transient, but on a monumental scale. Adhering to her previous pattern of categorization, she has made little piles of textured sand and\u00a0<em>objets<\/em>\u00a0on the photographs, matching the colors and contrasting textures, with small rocks holding them in place. The newspaper series starts in September 2013, and was an effort to capture the specific passing of time of her Philadelphia residency. Their positioning on the floor underlines how quickly newspapers are disposed of and reused, especially, for instance, by painters when used to prevent drippage. The headlines are so specific, yet the replacement photographs convey no information about time or location. The installations individualize each newspaper, while the black and white schema frames the un-framable.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"388\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1271.png\" alt=\"\" class=\"wp-image-6852\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1271-300x220.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1271-150x110.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1271-408x300.png 408w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1271.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view, Calendar Series, 2013-2015 (Courtesy the Artist and Victoria Miro, London \u00a9Sarah Sze)<br>\u300a\u65e5\u5386\u7cfb\u5217\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2013-2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1272.png\" alt=\"\" class=\"wp-image-6855\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1272-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1272-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1272-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1272.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view, Model Series, 2015 (Courtesy the Artist and Victoria Miro, London \u00a9Sarah Sze)<br>\u300a\u6a21\u578b\u7cfb\u5217\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<p>Finally one reaches the main rock installation on the upper level, which is in itself a kind of constellation. On the wall, the \u201cStones Series\u201d is a sequence of thirteen abstract canvases of lichen and rock surfaces, some in the magenta, cyan and yellow of process color printing, others in darker monochrome. Each piece relates to the various groupings of \u201cFour Rocks in a Landscape\u201d, many of which are actually sculptures of rocks made of photographs printed on fabric and stretched over wire. Sze has been using them in recent installations, and they particularly featured in Venice, where they referred to John Ruskin\u2019s three-volume architectural and cultural history \u201cThe Stones of Venice\u201d (1851-1853), which was also a prim warning to his own England about the risk of cultural decline arising from overweening secularism eclipsing pious Christian observance. However Sze herself has noted her conscious reception of traditional Chinese scholar\u2019s rocks (\u4f9b\u77f3; g\u014dngsh\u00ed) and the careful placing reflects this. In this room her focus is on how the properties of a material used for both sculpture and architecture can be exposed and inverted. These are not the found objects they seem. If the Venice show was about \u201corientation and disorientation\u201d (many of the rocks there had concentric circles of colorful thread that was quite topographical), then in phenomenological terms these have now become literal stepping-stones in her \u2018life-world\u2019 and practice.<\/p>\n\n\n\n<p>The Mayfair gallery features a series ofsmaller sculptures that are also essentially phenomenological models for abstract concepts that can be very transient and fragile as ideas. As in the desk piece, these excite by creating a suspense of gravity versus line. They are both intricate and sparse, and decisively subjective and delicate in concept and form. Each plays with shifting scales and the idea of \u201cebb and flow,\u201d as the \u201ccrescendos and pauses\u201d of her large-scale work can never quite be encapsulated in a gallery environment.<\/p>\n\n\n\n<p>There are also silkscreen prints from the\u00a0<em>Midnight Series<\/em>\u00a0that further explore the contrast between daily newspapers and an abstract image like the night sky, which she created over New Year\u2019s Day 2014 by gathering different world newspapers and inserting pictures of the midnight sky into their front pages.\u00a0As there are twelve over twelve time zones, together they act as a world clock, tracing the rotation of the earth on the first day of the New Year.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"352\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1273.png\" alt=\"\" class=\"wp-image-6858\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1273-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1273-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1273-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/zh-hant\/image-1273.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><figcaption class=\"wp-element-caption\">Installation view, Model Series, 2015 (Courtesy the Artist and Victoria Miro, London \u00a9Sarah Sze)<br>\u300a\u6a21\u578b\u7cfb\u5217\u300b\uff0c\u5c55\u89c8\u73b0\u573a\uff0c2015\uff08\u7248\u6743\u5f52\u827a\u672f\u5bb6\u53ca\u7ef4\u591a\u5229\u4e9a\u00b7\u7c73\u7f57\u753b\u5eca\u6240\u6709\uff09<\/figcaption><\/figure>\n\n\n\n<p><strong>Notes\u00a0<\/strong>1. Tyvek is a high-density polymer fabric made by the DuPont company.\u00a0<strong>Sarah Sze<\/strong>\u00a0is a full professor of Fine Art at Columbia, and is now working on an installation that will feature her drawings on large-scale ceramics at the 96<sup>th<\/sup>\u00a0St subway station in New York. She was born in Boston, and is the granddaughter of Szeming Sze, an important Chinese diplomat who was educated in England between the wars and one of those responsible for establishing the World Health Organisation.\u00a0<strong>Harriet Landseer<\/strong>\u00a0is based in Prague, where she arranges and accompanies specialized art tours to the Czech Republic and Central Europe for numerous UK and U.S. museums. Her many other interests include contemporary art, coffeehouse culture, children\u2019s book illustration and in November 2015 she is arranging a conference on Chinoiserie in Central Europe.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sarah Sze solo show&nbsp;Victoria Miro G &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/paper-scissors-rock-sarah-sze-at-victoria-miro\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":6861,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[673,2945,66,374,393,2946,1725,602,210,2947,2948],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Paper, Scissors, Rock\u2014Sarah Sze at Victoria Miro - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/paper-scissors-rock-sarah-sze-at-victoria-miro\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paper, Scissors, Rock\u2014Sarah Sze at Victoria Miro - 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