Rey Akdogan: Miguel Abreu Gallery

By Diaz, Eva | Artforum International, December 2012 | Go to article overview

Rey Akdogan: Miguel Abreu Gallery


Diaz, Eva, Artforum International


Who didn't move to the Big City for the nightlife? Or at least the idea that it's there for you if you want it? Well, prepare to be happy: Rey Akdogan's show "night curtain" was open to the public from dusk to midnight. Accordingly, it took full advantage of an often-ignored truth of metropolitan art-viewing, one that the night hours at Palais de Tokyo in Paris have exploited to great effect for years, and that the lines out the door for the occasional late nights at New York museums demonstrate: People love to see art after the sun goes down. Doing so changes the whole texture of the viewing experience. Being able to wander into Akdogan's exhibition after dinner, instead of having to rush in before the 6 Pm end of a typical gallery's "business hours," made for an entirely different and in many ways preferable kind of art spectatorship, one colored more by leisure and reflection than by the workaday world of commerce and productivity.

Akdogan's show contained various spatial nodes that explored subtle shifts in light conditions, underscoring the phenomenology of viewing objects and spaces in those twilight to midnight hours. Outside the gallery, a pink light was placed in a doorway adjacent to the gallery's main entrance, mirroring the site of an existing yellow light flanking the other side of the entry, an intervention so understated it risked being overlooked. Indeed, viewers were likelier to notice the pink glow on the way out, after their attention to color and light had been heightened by Akdogan's barely-there work. …

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