![]() Morris’s site-specific piece, located on the outskirts of Lelystad, the Netherlands, first appears in a black-and-white photograph juxtaposed with a close-up of a Nazca line drawing. Across several works, Beltrame invokes Morris’s Earthwork Observatory, 1971–77, and his seminal text “Aligned with Nazca,” published in Artforum in 1975. Ostensibly an artist, and the author of the exhibition’s first-person press release, Atuq was actually invented by the curator Elfi Turpin and Beltrame-an alter ego whose manifestation raises issues of authenticity and authorship.Ī real artist whose presence is felt throughout this show is Robert Morris. Curiously, this work, as well as Second Summer of Love, 1989, a 35-mm slide show flashing found images from a 1980s outdoor rave in Britain, is credited not to Beltrame but to René García Atuq. This unexpected mash-up of contemporary and ancient cultures is equal parts Pop art and anthropological display. ![]() ![]() Reminiscent of Hélio Oiticica’s “Penetrável” series, this circular cluster, Bizarre Innovation Style, 2014, invites the viewer to weave through and appreciate the sweatshirts’ silk-screened photographs of Peruvian ceramic vessels once used by Nazca shamans to mix psychotropic concoctions. Seven colorful American Apparel sweatshirts, arms splayed on bamboo sticks like hipster scarecrows, greet visitors to Louidgi Beltrame’s latest exhibition.
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