Dialectics of Difference and Repetition in a Repertoire of Forms: A Review of Richard Rezac at the Renaissance Society

The latest work by Richard Rezac strictly depicts the vocabulary of forms, surfaces and patterns and combines them and recombines them to create grammar-like ones. As most critics have pointed out, his work frequently overlooks architecture, interior design, sculpture boundaries, and two large-screen works "Ren Screen" and "Chigi" in a special architectural way. Break the space. However, Rezac repeatedly adjusted the shape of the work and the shape between them using the same fan-shaped approach on both sides of the blue wall and white floor. This indicates that the world should be viewed as infinite possibilities. It was not made from limited tracks. The four wall-mounted sculptures in the "Zeilschip" series are clearly based on Dutch tiles and you can see the same tension. Each contains a slightly offset ellipse with a small feature on the left side (the artist calls it a "symbol"), each reflecting from the mat, very different surface characteristics from shiny nickel to dimly I'm waiting. Warm light

The charm of Rezac sculpture is that there are various entrances. From the essential pose of De Stijl to the most lyrical sentences of Anthony Caro, he can put his work into the inheritance of modernism abstraction. Or think about odd juxtaposed materials and shapes that make people often think about surrealistic anthropology. "For example, Tendril (Thomaskirche), where metallic shafts and knobs stand out from a smooth green background, is reminiscent of Meret Oppenheim and Man Ray's experiments.In a recent interview, Rezac reviews the material of each work Although the original vision was important, these juxtaposed concerns indicate that it is important for practicing his sculpture.

Overall, "address" provides a very coherent corpus. Some of the important decisions concerning the entity and surface treatment of the work clearly took place in the ventilation space of the Renaissance Association gallery which utilized the rare layout of the room. Most importantly, this is an antisocial program. There is no big deal, magnificent, no exaggerated assertion about the importance of art. This is refreshing itself, but sculpting may not be taken seriously; and there are things that overturn redesigned differences and iterative dialectics, so underesting them is a mistake is. (Luke A. Fiddler)

The Renaissance Association exhibited works by Chicago sculptor Richard Rezac curated by the chief curator Solveig Østebø. For his work at the Renaissance Association, considering the nuance of the neo-gothic architecture of the gallery, Rezac includes the new and old pieces he produced in the past decade. Rezac's work is unified by eclectic references, including Italian baroque architectural drawings and strong organizational principles. These works explore the elaborate mechanisms of complex geometric sculpture logic, relationships with objects important to the human body, and interpretation and meaning. Rezac creates engravings that embodies or formulates them using precise structural and spatial orientations, rather than representing these complex systems with symbolic or simple illustrations.

It seems to be meaningful when you pass Richard Rezac's new exhibition "address". On the white wall of the Renaissance Association's main gallery, the windows were broken, the arch-shaped ceiling room, twenty thin objects protruding from the long Chicago wall fell off the ceiling and rested on the floor. In Rezac's elegant but slightly disengaged form, the cherry looks like plastic, the bronze looks like a pine, and the stone resembles a bell (although "stone" is actually bronze). They are not ambitious, they are abstract showing something realistic. Hovering over the head with soft red painted wood and cast aluminum Untitled work, it seems that you can imagine that the signboard of the 1950's restaurant might become a hint of airplane wings. Do not forget to eat there.