Lygia Pape, Ttèia 1B, 1976/2014. Thread, dimensions variable.



Hauser & Wirth

“Lines” featured a positively intellectual body of non-works that appeared to want to disappear from view. Beneath curved steel ribs rising up into the ceiling, the industrial-style space of Hauser & Wirth might have been completely empty were it not for the wafer-thin works and barely visible thread installations that resonated from its walls like the residual effects of a ghostly séance. These most slight of artworks pay homage to the original principles of European concretism (rejecting reality for a more concentrated interest in line and color) and the abstracted interests of non-concrete art. Curated by Rodrigo Moura, “Lines” included the work of eight international artists originally active in the 1950s, some of whom are still practicing today. Romanian Geta Bratescu, renowned for her destabilizing drawings and collaged textiles, was represented by Les Mains (1977), an 8-mm film showing her hands moving feverishly in front of the camera—as much tailored drawing as table-top performance…see the entire review in the print version of January/February’s Sculpture magazine.