{"id":103452,"date":"2016-10-06T17:13:27","date_gmt":"2016-10-06T21:13:27","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=103452"},"modified":"2016-10-06T17:18:02","modified_gmt":"2016-10-06T21:18:02","slug":"circumstantial-pleasures","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/10\/06\/circumstantial-pleasures\/","title":{"rendered":"Circumstantial Pleasures"},"content":{"rendered":"

Since the late seventies, Lewis Klahr has garnered praise\u00a0for his collage films, whose use of midcentury imagery inspires what the historian Tom Gunning\u00a0has called \u201can interplay of grasping and losing, remembering and forgetting.\u201d A new exhibition at Zurich\u2019s Grieder Contemporary, in association with London\u2019s Anthony Reynolds Gallery, finds Klahr pursuing collage outside of film for the first time; in addition to a new movie, he\u2019s debuting a set of\u00a0standalone works.<\/em><\/p>\n

\u201cWhen I first started doing this, in my late twenties, I was really trying to bring my childhood back<\/a>,\u201d he told Blouin ArtInfo in 2013. \u201cI wanted the world to look like that again. As I aged, and as I grew as an artist, that became not the concern anymore in the same way. Then it was more about memory. Now it\u2019s just a language; it\u2019s a place I like hanging out. It\u2019s this idea of looking at the world with the openness and wonder of a child, so you\u2019re seeing things fresh.\u201d<\/em><\/p>\n

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Lewis Klahr, At Night<\/i>, 2015, collage on cardboard, 20 1\/2″ x 8 7\/8″.<\/p><\/div>\n

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Blue + Gray<\/i>, 2015, collage on cardboard, 10 1\/4″ x 10 7\/8″.<\/p><\/div>

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Streets<\/i>, 2016, collage on cardboard, 23 7\/8″ x 14 1\/8″.<\/p><\/div><\/p>\n