{"id":132424,"date":"2022-05-21T20:26:46","date_gmt":"2022-05-22T01:26:46","guid":{"rendered":"http:\/\/www.thevisualist.org\/?p=132424"},"modified":"2022-04-28T20:31:23","modified_gmt":"2022-04-29T01:31:23","slug":"zarouhie-abdalian-interregna","status":"publish","type":"post","link":"http:\/\/thevisualist.org\/2022\/05\/zarouhie-abdalian-interregna\/","title":{"rendered":"Zarouhie Abdalian: Interregna"},"content":{"rendered":"<div class=\"row one-col-row no-row-hoverimage row-1\">\n<div class=\"row-inner \">\n<div class=\"column-wrap \">\n<div class=\"col no-offset push-2 span-6 align-top no-parallax type-text no_100vh-carousel\" data-type=\"text\" data-yvel=\"1\">\n<div class=\"text lay-textformat-parent \">\n<p>A faint chime, an evaporating pool\u2014each of the works presented in <em>Interregna<\/em> register flux in one way or another. The exhibition reflects a longstanding artistic preoccupation with state change\u2014or more precisely, with making perceptible the transition boundaries along which change is registered. The inclusion of the early kinetic piece, <em>Draft<\/em> (2011), bears this out.<\/p>\n<p>Three new sculptures follow this through-line, occupying the gallery’s intimate regime with characteristic spareness. A ceramic sculpture functions as an unstable looking glass. A bell divides time into uncountable intervals. A shovel provisionally fixes to a wall a record of oscillating commodity prices.<\/p>\n<p>Whereas the quotidian materials that comprise these sculptures might otherwise go unremarked, Abdalian activates within them their inner tensions, the play between quantity and quality inherent in all changing things.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"row no-row-hoverimage row-2\">\n<div class=\"row-inner \">\n<div class=\"column-wrap \">\n<div class=\"col no-offset push-2 span-3 align-top no-parallax type-text no_100vh-carousel\" data-type=\"text\" data-yvel=\"1\">\n<div class=\"text lay-textformat-parent \">\n<p class=\"_fnp\"><a href=\"https:\/\/altmansiegel.com\/artists\/zarouhie-abdalian\/\" target=\"_blank\" rel=\"noopener noreferrer\">Zarouhie Abdalian<\/a> (b. 1982, New Orleans) is based in New Orleans. She has exhibited widely at venues including San Francisco Museum of Modern Art, CA; Secession, Vienna, Austria; Contemporary Art Center, New Orleans; Berkeley Art Museum, CA; MASS MoCA, North Adams, MA; Museum of Contemporary Art, Cleveland, OH; 5th Ural Biennial, Russia; 2017 Whitney Biennial, New York; Prospect.3, New Orleans; 8th Berlin Biennale; 9th Shanghai Biennale; CAFAM Biennale, Beijing; and 12th Istanbul Biennial.<\/p>\n<p class=\"_fnp\">Her work is held in public collections, including the Whitney Museum of American Art, San Francisco Museum of Modern Art, Mills College Art Museum, and Berkeley Art Museum. Select publications include\u00a0<em>Artforum<\/em>,\u00a0<em>Art in America<\/em>,\u00a0<em>The New York Times<\/em>,\u00a0<em>The New Yorker<\/em>,<em>\u00a0The Wall Street Journal<\/em>,\u00a0<em>The Los Angeles Times<\/em>, and\u00a0<em>Art Review<\/em>. Abdalian is a 2020 artist-in-residence at the Coleman Center for the Arts, AL; a 2018 recipient of the Pollock-Krasner Foundation Grant; and a 2012 recipient of the SFMOMA SECA Award.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>A faint chime, an evaporating pool\u2014each of the works presented in Interregna register flux in one way or another. The exhibition reflects a longstanding artistic preoccupation with state change\u2014or more precisely, with making perceptible the transition boundaries along which change is registered. The inclusion of the early kinetic piece, Draft (2011), bears this out. Three<a href=\"http:\/\/thevisualist.org\/2022\/05\/zarouhie-abdalian-interregna\/\" class=\"read-more\">Continue Reading<\/a><\/p>\n","protected":false},"author":6,"featured_media":132426,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39,5],"tags":[18,397,224511,237332,207451],"class_list":["post-132424","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition","category-reception","tag-bridgeport","tag-chicago","tag-haynes","tag-interregna","tag-zarouhie-abdalian","cat-39-id","cat-5-id"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"http:\/\/thevisualist.org\/wp-content\/uploads\/2022\/04\/Screenshot-2022-04-28-at-20-30-11-Haynes.png","_links":{"self":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/132424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/comments?post=132424"}],"version-history":[{"count":1,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/132424\/revisions"}],"predecessor-version":[{"id":132427,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/132424\/revisions\/132427"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media\/132426"}],"wp:attachment":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media?parent=132424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/categories?post=132424"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/tags?post=132424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}