Impressions of Tara Donovan’s show “Intermediaries” at Pace Gallery Jan 15-Mar 6, 2021

Something is held within the sphere; as you approach, it’s fleeing, moving along with you, tending to your view. A globe of cut tubes becomes a two-way piece, not the circular unity held by a ball.

Tara Donovan, Sphere, 2020, PETG tubes, Close up. Image: Troels Steenholdt Heiredal © Tara Donovan, Page Gallery

It takes two to communicate. Looking into this globe, all of your vision is limited to the tubes — only a few, but constantly changing as you move — you have the angle to look through. Your vision is compressed through the tube, comingling with transparencies and reflections; upon reaching the…


James A. Reeves’s online quadruplex of play, by Troels Steenholdt Heiredal

I’m starting to tense up, knowing that I need to, or it’s more I want to, have to get this right. To say something profound about the work, and it’s blocking me, crippling my every move, till nothing comes out—and still I hate it all.

The concept of play has come up for me over the last few weeks, both in my readings and in conversations with friends, amongst them James A.Reeves. The idea of letting go, and give yourself space to play, for through this you will open…


Impressions of Salman Toor’s show “How Will I Know” at The Whitney Museum of American Art, on through April 4, 2021.

The protagonist here a traveler in silence — where do we dream, when dreaming in public?

“I am tall and I am thin / Of an enviable height / And I’ve been known to be quite handsome / In a certain angle and in a certain light” [Nick Cave, O’Malley’s Bar].

Two Men with Vans, Tie and Bottle (Detail + Full), 2019, Salman Toor, Installation view. Image: Troels Steenholdt Heiredal, artwork © Salman Toor, Whitney Museum of American Art

There’s a slowness to the paintings, a stillness. The scenes float within the surface, multiple brushstrokes layered in series, placing all of them in a soft thick space…


Theaster Gates’ solo show at Gagosian Gallery W24th Street.

A common chord strikes through four separate spaces, held together by a material.

The first space feels almost off to the side, it’s the only room with a view to the outside and the only deadend, forcing you to enter and exit through the same opening.

Theaster Gates, Brick Reliquaries, 2020, Installation view. Image: Troels Steenholdt Heiredal, artwork © Theaster Gates, at Gagosian

As you enter across from a glass roll gate, you’re flanked by two walls, each containing three clay brick fired experiments, Brick Reliquaries (2020) — collaborations between maker and matter. Each starts as a composition of anticipation, set up inside the kiln, then by over-firing…

Troels Steenholdt Heiredal

(b. 1984) is exploring the difference between seeing and perceiving.

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