In Cynthia Daighnault’s exhibition at Olney Gleason, the walls are covered with different versions of the same subject: Denali, the tallest mountain in North America. A natural wonder and a national treasure at risk, Denali has lost over 60 percent of its glacier mass, and rising temperatures have accelerated permafrost thaw and disrupted local ecosystems, directly affecting the wildlife that depend on it. The paintings in this exhibition preserve their likelihood like the sculpture of the last three rhinos (by Gillie and Marc, now installed at 441 Ninth Avenue), but this documentation of endangered species contains an underlying criticism of American megalomania, without escaping the artist’s own American identity and ambitions. A big, beautiful white thing, Denali’s demise mirrors the nation’s uncertain future and the accumulative effect of its past.
Continue reading “Call Of The Mountain”Qiu Xiaofei: The Theater of Wither and Thrive at Hauser & Wirth
At first glance, Qiu Xiaofei’s paintings appear weightless, washed in vaporous blues and fractured light. They hover between memory and dream, suspended in a luminous haze. But sustained looking alters the experience. The mist does not dissolve — it thickens. What seemed ethereal becomes anatomical. The viewer descends from the sky into the soil, and then further still into the ruptured systems, broken bodies, and unstable architectures that structure human existence. Beneath the atmospheric softness lies something closer to the bowels of what we call life: exposed nerves of paint, skeletal fragments, windows that stare back like watchful eyes. The work stages, narrates, and exposes modes of excavation.
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