Review: Concurrent Gego and Sarah Sze exhibitions speak to order and chaos in modern society
, all proposed uniting the various branches of the arts, then knitting them together with the sciences, engineering and society at large.
Gego went on to work with wires bunched like the bristles of brooms before turning to very light, suspended structures of thin wires configured like grids but building out into other geometries. Each work possesses different degrees of slackness and tension. All create an interplay, too, between line and shadow, and between two and three dimensions.The cumulative effect of Gego’s theme-and-variation approach, which has as much to do with weaving as with architecture, is deeply poetic.
Where Gego’s abstract sculptures express the modernist dream of simplicity, Sze takes confounding complexity as a given — as something to embrace. That’s part of what makes her one of the most interesting artists alive. Her show, organized by Kyung An, announces that things, from the beginning, are in a state of constant change and near anarchy. Systems exist, but so does entropy. Time is out of joint, coherence elusive, nothing commensurate, everything unbalanced.
The Guggenheim is a wonder-inducing place, and Sze has done a superb job responding to its distinctive architecture. Her work is so sprawling that it’s hard to tell where one piece ends and the next begins. But the installation titled “Diver” features a stainless-steel plumb bob swinging elliptically over the level surface of a container of water that sits on the Guggenheim’s sloping ramp.
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