Francis alys stripper

You are walking down a long road between two fields. The road never seems to change, but you keep glimpsing something, close by, in the distance. Is there water on the road ahead? A town? The future flickers and shimmers, you are almost there, on the brink of something, then it vanishes into thin air: a mirage. The never-reachable moment, a continual glimmer of hope, a pointless struggle — these are the motifs of this brilliant, yet slippery, exhibition.

Most of the work presented is either video distilled from filmed events enacted in real time, or video art that plays with the illusion of having been edited from a continuum. It is, as it were, a re-rehearsal of that challenge, now adapted to art institutions and the market, but with an explicit new focus on politics. Courtesy David Zwirner, New York. Photo: Wolfgang Traeger.

Photo: Joshua White. The exhibition itself, in other words, is conceived as a preparatory and inconclusive effort, possibly even as a failed take. The content of some of these is rehearsal in the most literal sense. Meanwhile, a stripper, also in starts and stops, and sometimes taking cues from a person offstage, goes through her languid and seductive motions, circling a chair, slowly undressing, enticing an imaginary audience.

No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Curators and artists — even those mindful of this border as a contested space and the difficulties facing illegal immigrants — are not bound by the same rules. It now exists as a simple postcard, but still successfully addresses one of the most important issues facing thousands of Mexicans and the United States government today. With all this he makes works addressing subjects such as urbanism, homelessness, or the division of cities and countries.