Gardner exhibitions alternate between the sensual pleasures of old European and Asian masters and contemporary curator Pieranna Cavalchini's ambitiously difficult conceptual art shows, like this one. I couldn't connect the dots here until Tse herself explained them to me. The record is meant to reflect the way the Gardner feels frozen in time. The platform is inspired by the Gardner's Dutch Room, from which Rembrandt and Vermeer paintings were stolen in 1990. It imitates the look of the still empty frames and a silk damask that formerly covered the walls. "The whole idea is about how to translate the impression of absence," Tse told me. It's a good subject, but few will make the desired connections. And the sacrifice of looks to ideas in this sort of conceptual art makes it almost impossible to tap the emotions elicited by the sad, lonely aura of that looted gallery.
Read Greg Cook's blog at gregcookland.com/journal.
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