{"id":74682,"date":"2014-07-29T17:58:16","date_gmt":"2014-07-29T21:58:16","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=74682"},"modified":"2014-08-07T17:44:28","modified_gmt":"2014-08-07T21:44:28","slug":"incident-resurrection","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/07\/29\/incident-resurrection\/","title":{"rendered":"Incident \/ Resurrection"},"content":{"rendered":"
\"incident3_960\"<\/a>

Roxy Paine, Incident \/ Resurrection<\/i>, 2013, neon, 6′ 9 9\/16″ x 15′ 11 1\/4″ x 10″. Courtesy of the artist and Marianne Boesky Gallery, New York \u00a9 Roxy Paine. Photo: Jason Wyche<\/p><\/div>\n

My commute takes me past Paul Kasmin Gallery, at the corner of Twenty-seventh and Tenth, less than a block from The Paris Review<\/em>\u2019s offices. Every morning for the past month, I\u2019ve paused there to stare at an installation through the window, a pair of illuminated silhouettes. I watch as one red neon man thwacks another with a red neon two-by-four. Every time, the second red neon man falls to the ground; every time, he rises again, on hands and feet, retracing the ungainly arc of his fall; and every time, the first red neon man thwacks him again.<\/p>\n

Thwack, fall, rise, repeat. Like many forms of suffering, this one goes on ad nauseam\u2014and like many forms of suffering, it burns itself into your retinas. I watch the cycle four or five times and then walk the two-thirds of a block to the office carrying an afterimage of neon trauma. I find this strangely buoyant.<\/p>\n

Only today, after more than a month of doing this, did I decide to find out what exactly I\u2019d been seeing. It\u2019s Roxy Paine\u2019s Incident \/ Resurrection<\/em> (2013), which the artist\u2019s Web site<\/a> characterizes as \u201ca visual loop of pure narrative movement\u201d: <\/p>\n

\n

Inspired by a random act of violence the artist experienced in Brooklyn in 1987, the work transcribes a story about reason and the absence of reason. To Paine, when randomness like this occurs, it is a sudden interruption of the social order of things\u2014a deeply troubling moment about human nature and the primal brain stem.<\/p>\n<\/blockquote>\n

The sequence, riveting and disquieting, takes on weight with repeated viewing. People in accidents often speak of how everything in those moments seems to unfold beat by beat; Paine\u2019s work has this staggering, stop-motion quality. The warm halo of the red tubes, the perpetually alert stance of the assailant, the victim\u2019s momentary fringe of disheveled hair. How sad that the second silhouette must inevitably fall to that two-by-four, but how encouraging that he inevitably finds the wherewithal to pick himself up again. Sometimes it seems to me that he\u2019s in perfect control of his fate, facing the pain with grace and forbearance\u2014he\u2019s practically dancing. Other times, he\u2019s just a chump.<\/p>\n

It\u2019s no accident, I\u2019m sure, that the work is visible from the street, from public space, where an unfortunate viewer may well incur \u201ca random act of violence\u201d not unlike the one represented here. And that\u2019s part of the larger context of the exhibition, I\u2019ve learned: Incident \/ Resurrection <\/em>appears at Paul Kasmin as part of Phong Bui\u2019s \u201cBloodflames Revisited<\/a>,\u201d designed in tribute to the seminal \u201cBloodflames\u201d exhibition of 1947, directed by Alexander Iolas at Hugo Gallery:<\/p>\n

\n

\u201cBloodflames\u201d\u00a0presented works by Arshile Gorky, Matta, Isamu Noguchi, and Jean-Claude Reynal among others. [Frederick] Kiesler\u2019s design called for an unconventional exhibition construction, wherein artworks were projected and tilted at various angles from the gallery walls, to allow uncommon perspectives of view. His bold architectural interventions dissolved the barrier between viewer and artwork.<\/p>\n<\/blockquote>\n

\u201c<\/em>Bloodflames Revisited\u201d appears through August 15; even if you don\u2019t cross the gallery\u2019s threshold, it\u2019s worth visiting just to let Incident \/ Resurrection<\/em> wash over you for a few minutes. Or a few hours, even.<\/p>\n","protected":false},"excerpt":{"rendered":"

My commute takes me past Paul Kasmin Gallery, at the corner of Twenty-seventh and Tenth, less than a block from The Paris Review\u2019s offices. Every morning for the past month, I\u2019ve paused there to stare at an installation through the window, a pair of illuminated silhouettes. I watch as one red neon man thwacks another […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,14785,14786,1922,14783,14784,13271,13421,14782,14787],"class_list":["post-74682","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-bloodflames","tag-bloodflames-revisited","tag-chelsea","tag-incident-resurrection","tag-neon","tag-paul-kasmin-gallery","tag-public-space","tag-roxy-paine","tag-violence"],"acf":[],"yoast_head":"\nIncident \/ Resurrection<\/title>\n<meta name=\"description\" content=\"Dan Piepenbring on Roxy Paine\u2019s \u201crandom act of violence\u201d and Phong Bui\u2019s \u201cBloodflames Revisited\u201d exhibition.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/07\/29\/incident-resurrection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Incident \/ Resurrection by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"July 29, 2014 \u2013 My commute takes me past Paul Kasmin Gallery, at the corner of Twenty-seventh and Tenth, less than a block from The Paris Review\u2019s offices. 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