In Tarik Kiswanson’s works, the body is never a full mass or a material reliant on itself. On the contrary, it is a structure, in the proper sense of the term, primarily ephemeral and immaterial, where the space in between plays a major dynamic role. These metal surfaces, carefully crafted by the artist, impose on the viewer a presence that is both ungraspable and threatening due to their hard edges and angles, their slender tips, and their multiple reflections. The oxidized soldering stains take on a pictorial dimension as they splatter all the colors of the spectrum here and there, across the shiny, highly-polished surfaces. Reduced to its frame lines, to its bare bones, a dysfunctional and skeletal furnishing is deliberately stripped of its function as a showcase or as a storage. The artist places it on the floor or hangs it on a wall, sometimes close to some fascinating blind masks (or the negative forms left of their components) hung on the wall like reliefs, and reminiscent

Read More: Swedish artist Tarik Kiswanson’s first solo exhibition at Almine Rech opens in Paris