{"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":"
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A faint chime, an evaporating pool\u2014each of the works presented in 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, Draft<\/em> (2011), bears this out.<\/p>\n

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

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

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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

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\u00a0Artforum<\/em>,\u00a0Art in America<\/em>,\u00a0The New York Times<\/em>,\u00a0The New Yorker<\/em>,\u00a0The Wall Street Journal<\/em>,\u00a0The Los Angeles Times<\/em>, and\u00a0Art 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":"

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. ThreeContinue 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],"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"}],"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}]}}