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Susan Hiller at Gimpel Fils - London, England - Review of Exhibitions - Brief Article

Susan Hiller lately had he Powerful and mingled vide installation, An Entertainment, playing as part of the Tat Gallery's "Rites of Passage" exhibition. In delicious counterpoint she mountained a small show called "Night Lights" at Gimpel Fils. In the gallery's darkened basement, a warm light emanated from a number of curious however elegant objects: wall brackets upon which 35mm slides were clipped in vertical lines in front of miniature night lights. As well as illuminating the jewel-like color of the slides, the small scaly buds cast pools of light along the walls.

One work is called Human Relations. Each slide features an image of a cranium which has been important in the disclosure of evolutionary theory. In this miniaturized and at the same time visually intensified form, singularly crossed with the comforting nursery associations of the night lights, the fragile brain-pans become very strange and moving. The negative spaces of the organ of sight cavities and nose seem as significant as the head itself.

Along another wall, below the cool light of a display cabinet, were a number of lay open cardboard boxes. These are part of an on-going series which the artist launched at a special exhibition last year in London's Freud Museum. If the "Night Lights" are anti-projection works, the boxe could be called anti-installation pieces. Hiller has said she presents to make boxes rather than installations. Implied, no doubt, is a critique of the rife penchant blowing up an elementary a to pretentious size. Hiller's boxe are simple on the other hand extremely concentrated juxtapositions of things drawings and texts.



I was particularly attracted to single box called Journey. In its upraised lid is a photocopy of Rembrandt's painting of Mose angered at his people's go [i]or[/i] come back to their idols, smashing the tablets of the law. In the base are more [i]or[/i] less "fossils" found by the artist in the wild near Mt. Sinai, ambiguous existences which appear visually related to the corkscrew ringlets of Moses's beard in the famous statue by dint of Michelangelo. The statue is alluded to in the third ultimate part of the box: a true copy conveying Freud's highly personal replication on seeing Michelangelo's sculpture in Rome The journey of the fossils, Moses's coming down from Mt. Sinai, Freud's visit to Rome Hiller's travels in the desert: all interlaced in an enigmatic perception of the personal and social significance art.

COPYRIGHT 1996 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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