MICHAEL ROVNERMichal Rovner, 1/9-Night-3, 2016, Pace

Michal Rovner’s (b. 1957, Israel) work in video, sculpture, drawing, sound and installation has been exhibited in over 60 solo exhibitions including a mid-career retrospective at the Whitney Museum of Art, the Israeli Pavilion at the Venice Biennale, the Jeu de Paume, and the Louvre. In 2006, Rovner began a series of monumental structures titled “Makom” (Place) using stones from dismantled or destroyed Israeli and Palestinian houses from Jerusalem, Bethlehem, Haifa, the Galilee, and the border of Israel and Syria. She worked with Israeli and Palestinian masons to construct new spaces encompassing history, memory and time. In 2013, Rovner created the installation “Traces of Life” at the Auschwitz-Birkenau State Museum devoted to the 1.5 million Jewish children murdered in the Shoah. Rovner’s video installations were exhibited at the Tate Gallery, the Stedelijk Museum, LVMH Headquarters, and Yad Vashem. Rovner lives and works in New York and Israel. Night, Rovner’s new solo show, will be radically different from the artist’s previous exhibitions. Rovner’s encounters with darkness generate nocturnal images, capturing moments that are immersed in shadows. The works reverberate an unfamiliar dimension, a sense of fear and alertness, primal powers and the night within us. Rovner’s previous bodies of work, which span multiple forms of media, have defined a new and evocative language of abstraction. Her non-narrative video and multi-screen moving-image works, broadly addressing themes of history, humanity and time, depict unidentifiable human figures in movement within a landscape. She records and erases visual information, obscuring specifics of place or real-life situations through gestural, painterly qualities. Her projections on stone and paper reference the historical realm through their material surfaces, and continue these investigations into the human condition. Recently, Rovner has been commissioned to create a work for the Canary Wharf station for the new Crossrail line of the London Underground. Scheduled to open in early 2018, her large-scale video installation on the elevator shafts and interior walls will depict masses of people in movement, reflecting the transitory nature of the station. In 2015, Stazione Municipo in Naples unveiled a video fresco by Rovner that remains on permanent display. The work is a continuation of her projections on stone, and invokes the past and present of the site. In 2014, she designed the set for a production of Verdi’s Il Trovatore, which premiered at the Teatro di San Carlo, the world’s oldest opera house, in Naples.

MICHAEL ROVNER | 2Michal Rovner, 2/ 19-Night-5, 2016, Pace




ROB PRUITT.pngRob Pruitt’s Official Art World / Celebrity Look-Alikes, 2016


Rob Pruitt’s Official Art World / Celebrity Look- Alikes translates a widespread media trope to the secluded world of contemporary art by pairing images of widely known members in the art community with their celebrity counterparts. The project, which began on Instagram, takes its physical form as diptychs on canvas to create an affectionate and poignant commentary on identity, meaning, and community established through shared visual culture. Pruitt relies on social media and collaborative interactions to twist everyday mainstream conventions. In the same vein as Spy Magazine’s ‘Separated at Birth’ or US Weekly’s ‘Who Wore It Best?’ Pruitt’s Look-Alikes construct an uncanny experience. Chronicling the full series to date is a publication that includes pairings of look-alikes, alongside the Instagram commentary they inspired and an interview with Gavin Brown and (his celebrity counterpart) Mark Ruffalo. As Pruitt describes the project: ‘The Celebrity Look-Alikes are about the Duchampian ease of making a portrait by pointing at a person’s doppelgänger. They’re about the post-Picasso fascination with artists as personalities. They’re about how John Baldessari looks just like Papa Smurf.’


Rob Pruitt’s Official Art World / Celebrity Look-Alikes, 2016