Art galleries, especially those on the Lower East Side and its environs, can sometimes resemble found objects. Art dealers with shoestring budgets take the spaces as they are, or close to it. At the same time, artists often do more than simply show their work in them; they tweak them or execute substantial makeovers that temporarily turn the galleries into part of the art. Such shows are nearly always on view somewhere in New York’s sprawling gallery scene, and at the moment there are three very fine examples within a short distance of one another in downtown Manhattan.
Reena Spaulings Fine Art‘Klara Liden: Grounding’
Klara Liden’s latest show at Reena Spaulings — excellent as usual — folds together exterior and interior space, activating both through performance and an invasive video screen. The centerpiece is “Grounding,” a short video beautifully shot by Daniel Garcia, that shows the artist striding around the Wall Street section of Manhattan with what seems to be serious, perhaps even heroic, intent. Looking neither right nor left, she falls regularly, picks herself up and carries on.
Whatever mission she’s on never comes into focus; the suspense, encouraged by the pulsing drone of Askar Brickman’s soundtrack, is reduced to anticipating the next fall. The video becomes a parody of masculinity or action films or movie-star heroes — all suggestions aided by Ms. Liden’s androgynous presence and impeccable posture (think of Matt Damon in “The Bourne Identity”) and also undermined by her unwavering dignity.
At the gallery, “Grounding” is projected onto a large wall of cheap plywood, angled at about 45 degrees. (The grain is sometimes visible through the image.) This architectural intervention also evokes the way the ground seems to rise to meet you when you fall.
Another video, this one on a small, flat-screen monitor, awaits on the other side of a trapdoor-like opening in the plywood wall. Even briefer than “Grounding,” it is titled “GTG TTYL” and shows Ms. Liden performing three simple acts of disappearance within the gallery itself. She hides, or takes cover, by climbing behind the gallery’s sofa, then a false wall and, finally, a large video screen. These short actions are each segmented into split-second moments that are isolated by the monitor’s going dark — interruptions like the falls in “Grounding.” The result is unexpectedly mysterious: choreographed stealth extended, through video, into oddly graceful, deconstructed dance.
Through Jan. 13 at 165 East Broadway, Manhattan; 212-477-5006, reenaspaulings.com.
Tramps‘Kai Althoff: Chief Plate Rattler’
The German artist Kai Althoff is showing nearly 40 works, mostly small, characteristically strange paintings, in the warren of about 10 glass-walled offices that constitutes the gallery Tramps, on the second floor of a mall in Chinatown. Mr. Althoff has altered the vitrine-like display spaces, covering the floors with destabilizing sheets of heavy paper over slabs of foam, and the walls with more heavy paper, rice paper and raw cotton. He sometimes paints the paper deep mauve or adds brushwork to the glass. The result is a space that evokes alternating feelings of being oppressed and of being cosseted.
The paintings are fantastic and feral, both in execution and in suggested narrative; attenuated, often adolescent, sometimes gnomelike creatures populate them. The scenes often seem to illustrate, or at least conjure European, Japanese or Russian folk tales or children’s stories, reminding us that once upon a time such narratives were often violent, intended to warn the young against bad behavior.
There are benign scenes, like that of a group hanging up laundry outdoors, or one of a Buddhist teaching acolytes, as well as a series of images of women giving birth. Surfaces are deliberately murky, but careful examination clarifies both the goings-on and the artist’s eccentric paint handling (often more drawing than painting). Japanese screens; Degas’s monotypes of brothels; Vuillard’s fraught, richly colored surfaces; and Klimt’s lavish patterns may come to mind. But Mr. Althoff’s best efforts reveal larger, more ambiguous and dangerous worlds, full of life’s inescapable tensions, if not its sorrows.
Through Jan. 20 at 75 East Broadway, Manhattan; 212-988-1623, trampsltd.com.
56 Henry‘Cynthia Talmadge: 1076 Madison’
For Cynthia Talmadge’s first show at 56 Henry in 2017, her interest in social ritual led her to conflate college residence halls and private rehab centers: She accoutered dorm-room-like displays, such as Ikea might mount, with pennants, tote bags and sweatshirts emblazoned with the names of treatment facilities like McLean and Hazelden. Now she has turned to the prestigious Frank E. Campbell funeral home in Manhattan, known for celebrating the lives and deaths of New York’s rich and famous at its Upper East Side address, which gives the show its title.
Like Monet painting the Rouen Cathedral, Ms. Talmadge has painted the funeral home’s facade from different angles, in different seasons, at different times of day. But she has sidestepped Impressionism’s speedy improvisation for an implicitly static style: the dot-by-dot pointillism of the Post-Impressionist painter Georges Seurat, a method that has all the deliberation and precision of a funeral director preparing a corpse for an open coffin. We see the funeral chapel looking pinkish in the bleaching light of summer, and much darker during a nighttime snowstorm (an especially good rendition).
With equal skill, Ms. Talmadge has given 56 Henry’s tiny space the high-end look and hush of a funeral parlor. A thick, pale carpet covers the floor; other additions include wainscoting and molding, silk wallpaper and velvet trim, and silk cords from which the paintings hang — all a single shade of tasteful, soothing jade green. Nothing says money like total color coordination, but none of this would look good if Ms. Talmadge’s pointillism weren’t so convincing, down to the painted frames. It should be lost on no one that the production values here aren’t much different from those lavished upon a conventional white-cube gallery, which is a far cry from the stops on this particular tour.
Through Jan. 20 at 56 Henry Street, Manhattan; 518-966-2622, 56henry.nyc.B:
至尊五肖王【赫】【连】【氏】【族】【如】【此】【大】【的】【风】【波】【发】【生】，【直】【到】【平】【息】【后】【几】【日】，【族】【长】【都】【换】【人】【了】【才】【被】【众】【所】【周】【知】。 【赫】【连】【长】【国】【担】【任】【族】【长】【之】【位】，【族】【卫】【高】【长】【赫】【连】【铁】【律】【与】【族】【中】【分】【支】【势】【力】【最】【强】【的】【赫】**【雄】【一】【脉】，【对】【其】【鼎】【力】【支】【持】，【赫】【连】【长】【国】【很】【快】【在】【赫】【连】【氏】【族】【内】【拥】【有】【绝】【对】【的】【话】【语】【权】。 【这】【个】【曾】【经】【赫】【连】【氏】【族】【里】，【排】【名】【最】【末】【的】【一】【脉】【分】【支】，【摇】【身】【一】【变】，【成】【了】【赫】【连】【氏】【族】【内】【的】【主】【脉】
【这】【天】【上】【午】【的】【活】【动】，【仍】【是】【在】【那】【霸】【市】【参】【观】【一】【些】【著】【名】【的】【景】【点】。 【比】【方】【说】，M【国】【大】（bing）【曾】【经】【驻】【扎】【过】【的】【地】【方】——M【国】【村】。 【这】【也】【算】【是】【冲】【绳】【岛】【上】【景】【色】【相】【当】【别】【致】【的】【地】【方】，【其】【中】【的】【房】【子】【建】【得】【很】【有】【特】【点】，【也】【挺】【漂】【亮】【的】。 【和】【海】【岛】【上】【其】【他】【建】【筑】【风】【格】【差】【异】【显】【著】，【有】【着】【一】【种】【相】【当】【特】【殊】【的】【感】【觉】。 【这】【里】【原】【本】【是】M【空】【军】**【的】【生】【活】【区】，
【这】【个】【声】【音】【落】【下】，【立】【刻】【将】【在】【场】【数】【千】【双】【眼】【睛】【引】【开】。 【只】【见】【拥】【挤】【的】【人】【群】【再】【度】【分】【裂】，【让】【开】【道】【路】。 【但】【这】【一】【回】，【人】【群】【的】【沸】【腾】【与】【骚】【动】【远】【不】【如】【之】【前】，【人】【们】【能】【听】【到】【鼓】【音】【之】【声】，【还】【有】【灵】【兽】【咆】【哮】【声】【音】，【顺】【着】【声】【源】【看】【去】，【一】【队】【穿】【着】【金】【灿】【灿】【衣】【袍】【的】【队】【伍】【朝】【这】【走】【来】。 【好】【大】【的】【排】【场】！ 【队】【伍】【足】【有】【近】【百】【人】【之】【多】，【所】【有】【人】【皆】【骑】【龙】【马】，【而】【龙】【马】【中】【央】，至尊五肖王【眨】【眼】【间】，【已】【是】【三】【天】【之】【后】。 【三】【天】【里】，【委】【实】【发】【生】【了】【不】【少】【的】【事】【情】。 【比】【如】【说】，【断】【长】【空】【与】【叶】【奈】【法】【两】【人】【终】【于】【敲】【定】【了】【在】【哪】【里】【安】【置】【那】【些】【异】【斗】【派】【之】【人】，【而】【他】【们】【行】【动】【极】【快】，【兼】【之】【联】【盟】【那】【极】【强】【的】【科】【技】【造】【物】【能】【力】，【现】【在】【已】【经】【有】【专】【属】【的】【阵】【修】【前】【去】【那】【颗】【星】【球】【布】【置】【传】【送】【阵】【法】，【而】【他】【们】【两】【个】【则】【已】【经】【陪】【同】【罗】【根】【一】【起】，【去】【往】【之】【前】【的】【那】【颗】【无】【名】【星】【球】，【去】【见】【那】
【乌】【拉】【那】【拉】【氏】【出】【来】【以】【后】【众】【人】【还】【是】【先】【起】【身】【行】【礼】【问】【安】。 “【坐】【下】【吧】！【瓜】【尔】【佳】【妹】【妹】，【你】【身】【子】【重】，【怎】【么】【这】【么】【早】【就】【过】【来】【了】？【宴】【会】【还】【要】【等】【一】【会】【儿】【才】【开】【始】【呢】！【妹】【妹】【要】【是】【不】【舒】【服】【记】【得】【叫】【一】【声】。”【乌】【拉】【那】【拉】【氏】【笑】【着】【说】【道】。 【乌】【希】【哈】【扶】【着】【肚】【子】【慢】【慢】【的】【站】【起】【身】【谢】【恩】：“【多】【谢】【福】【晋】【好】【意】，【只】【是】【妾】【身】【这】【段】【时】【日】【实】【在】【是】【太】【无】【聊】【了】。【妹】【妹】【们】【整】【天】【也】【不】【来】【和】
【那】【年】【深】【冬】，【从】【来】【不】【信】**【的】【姜】【悦】，【去】【寺】【庙】【里】【求】【了】【一】【枚】【平】【安】【符】。 【是】【她】，【为】【那】【个】【人】【求】【的】。 【希】【望】【他】…【手】【术】【顺】【利】，【长】【命】【百】【岁】！ 【每】【个】【人】【在】【面】【对】【生】【老】【病】【死】【时】，【都】【显】【得】【那】【么】【的】【渺】【小】【和】【也】 【姜】【悦】【只】【是】【没】【想】【到】，【他】【会】【突】【然】【得】【那】【么】【不】【好】【的】【病】。 【命】【运】【似】【乎】【总】【是】【格】【外】【的】【讽】【刺】，【对】【她】【如】【是】，【对】【周】【贺】【如】【是】，【哪】【想】…【对】【林】【嘉】【也】【不】【例】【外】！
How 【民】【众】【会】【遭】【到】【威】【胁】，【产】【生】【恐】【慌】。【实】【力】【原】【本】【强】【大】【的】【他】【们】，【会】【变】【得】【渺】【小】，【不】【堪】【一】【击】！ “【别】【害】【怕】，【他】【们】【出】【现】【固】【然】【会】【打】【破】【平】【衡】，【但】【同】【时】，【也】【会】【是】【你】【们】【的】【机】【缘】。”【刘】【皓】【琨】【没】【有】【说】【的】【太】【清】【楚】，【修】【真】【一】【途】，【需】【要】【去】【悟】。【说】【透】【了】，【也】【就】【没】【意】【思】！ “【再】【说】，【咱】【们】【是】【人】【类】。【人】【类】【发】【展】【到】【现】【在】，【是】【靠】【的】【个】【人】【武】【力】【值】【吗】？”【见】【玛】【格】【丽】