Hans Kotter, Tunnel View- Down Under, Rectangle (Ed of 8 + 2 AP), 2012. Plexiglas, two-way mirror, metal, color-changing LED’s and remote control. H 23 1/2, W 35 1/2, D 6 1/2 inches.
Tricking the eye was a popular theme in this year’s Armory Arts Week in New York City, where artists used an assortment of new technologies employing glass to chart new visual terrain. Several art works on display at the main event (as well as satellite shows that have sprung up around the city) used high-tech projectors to manipulate two-dimensional artwork, or have incorporated high-definition screens into their canvasses to make their paintings non-static. And many are now using two-way mirrored glass, used in a most innovative and effective manner by Josiah McElheny in his “Modernism” series, to give infinite reflection into their works.
Walking around the main exhibition space where
Armory Arts Week set up on the New York City western waterfront from March 8th to 11th, 2012, as well as some of the smaller shows nearby and in Chelsea, one saw three artist from different continents with similar works on display: Ivan Navarro, the Chilean sculpture who uses the effect best when incorporating words to display his socio-political themes, was exhibiting with
Paul Kasmin Gallery. Hans Kotter, a German artist that uses technology to give a physical form to light was showing at
De Buck Gallery at the
Scope New York, not far from the main event at the Armory exhibition. And also at Scope,
C. Grimaldis Gallery was exhibiting Chul Hyun Ahn, a Korean artist who’s works creates a “physical representations of a kind of fantasy space, [while] provid[ing] an environment in which to contemplate the bound/boundlessness of humanity’s ability for
physical and spiritual travel,” according to his artist statement.
—Geoff Isles
Hans Kotter, Tunnel View- Down Under, Rectangle (Ed of 8 + 2 AP), 2012. Plexiglas, two-way mirror, metal, color-changing LED’s and remote control. H 23 1/2, W 35 1/2, D 6 1/2 inches.