Born in 1951 in Vienna, Rudolf Polanszky grew up in the 1960s, a decade that saw many artists bringing chance—the renunciation of egocentric control—into their compositional process. Polanszky experimented similarly. He attached paint-soaked sponges to his body and then slept on paper, the resulting image an expression of his body’s unconscious movement. He attached a giant spring to his posterior and bounced around the room in a seated position, bringing a paintbrush haphazardly to paper on the wall. His strategy was conceptual and performative at once. In the 1990s, using salvaged industrial materials—silver foil, aluminum, silicon, glass—Polanszky began to make mixed-media assemblages on canvas, which he called “reconstructions.” In this exhibition, copper foil has been used in the reconstructions, which are nothing less than ethereal planes of celestial delicacy, shimmering rose gold with marbleized stains. —L.J.
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