Topologies
Gathering more than 100 works created between 1952 and 2016 by 61 artists, Topologies, curated by Mika Yoshitake, offers both snapshots of particular moments in time and historical lineages that unfold over years and which centers on the concept of geometric transformation, in which space and shape can be expanded, contracted, distorted, and twisted while the structure of the object remains constant throughout. Currently on view at The Warehouse, Topologies draws works from The Rachofsky Collection, the Dallas Museum of Art, Deedie Rose, and Jennifer and John Eagle.

Jiro Takamatsu, “Light and Shadow”, 1973/2012. Light bulb and stainless steel board

Barry Le Va, “Cut, Placed Parallel”, 1967. Felt and aluminum
Hitoshi Nomura, “Dryice”, March 28, 1970. 24 black and white photographs
Koji Enokura, Untitled No. 14, 1978. Canvas, waste oil, and wood

Akira Kanayama, copy on paper, 1992
GEORGES BIZET: “Carmen Suite No.1.2”
FRANZ PETER SCHUBERT: “Schwanengesang, D.957 Ständchen” (“Serenade”)
ANTONIO VIVALDI: “Concert No. 1, 2, 3, 4”
GEORGE GERSHWIN: “Rhapsody in Blue”
WOLFGANG AMADEUS MOZART: Overtures 1-6
DVORÁK: “Symphony No.8”
LUDWIG VAN BEETHOVEN: “Symphony No.9 D minor, op. 125”
IGOR STRAVINSKY: “The Firebird”

David Altmejd, “The Academy”, 2005. Wood, glass mirror, Plexiglas, magic-sculpt, foam, synthetic flowers, jewelry, feathers, paint, lighting system, and minerals

Park Hyunki, Untitled, 1984. Single-channel video, color, silent; monitor, steel plate, and stone

Paloma Varga Weisz, “Fallende Frau, Doppelköpfig (Falling Woman, Double headed)”, 2004. Carved limewood and fabric

Shinro Ohtake, “Retina #30 (Scandinavia)”, 1990-1991. Cloth adhesive tape, vinyl sheet, and resin covered on laminated chromogenic analog print mounted on wooden panel

El Anatsui, “Ink Splash”, 2010. Aluminum and copper

Shozo Shimamoto, Untitled, 1965. Enamel on canvas mounted on board




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