Zarouhie Abdalian

Terry Atkinson

Lutz Bacher

Eva Barto

Neïl Beloufa

Patricia L. Boyd

Jay DeFeo

Trisha Donnelly

Harun Farocki

Richard Hamilton

Aaron Flint Jamison

Jacob Kassay

Garry Neill Kennedy

Louise Lawler

Park McArthur

Jean-Luc Moulène

Pope.L

Charlotte Posenenske

Cameron Rowland

Danh Vo

Leila Grothe

Anthony Huberman

The Wattis Institute, San Francisco

The Wattis Institute

View of the reception area of a gallery with white walls and grey concrete floors. On our left are three columns of wall text and on our right, a desk with printed ephemera laid out on its surface. A dark metallic, rectangular cube sculpture stands just beside the desk.

View of reception desk with printed ephemera and dark metallic, rectangular cube sculpture. Two glass doors on either side let in bright, natural light.

View of reception area with dark metallic, rectangular cube sculpture in foreground and wall text in background. A gap the size of a brick that has been cut out of the otherwise solid cube is more apparent from this angle.

Close-up view of the metallic cube sculpture with indentations that call to mind copier machines and ethernet ports.

Close-up view of the metallic rectangular cube sculpture from the right side showing compartments and other details.

Frontal view of the metallic cube sculpture with compartments and what looks like a CD slot.

Detailed view of the metallic cube sculpture from the left side.

Close-up view of the metallic cube sculpture from the back with different etchings and compartments visible. There appears to be a faint etching of a technical diagram on one of the sides.

To the right of the reception desk, in front of a wall of windows onto the sidewalk sit two large, geometric sculptures that appear to be made out of the same sheet metal material used in industrial HVAC systems.

Installation view showing the geometric sculptures on the left, an exposed electrical outlet and letter board in the center, and a wall work with wood slats on the right.

A closer view of the geometric sculptures with exposed electrical socket and letter board works in the background. The geometric sculptures look like segments of an HVAC system. Though they appear to be utilitarian objects, they are installed without function in mind. One rests on its side and the other stands upright, emphasizing their formal qualities.

Another close-up view of the geometric sculptures — segments of what might otherwise be used in an HVAC system, installed to emphasize their formal qualities.

Another view of the geometric sculptures with exposed electrical socket and letter board works in the background.

Another angle of the right geometric sculpture — a segment of what might otherwise be used in an HVAC system, installed upright to emphasize its formal qualities. Behind the sculpture, in cut vinyl letters, the following URL is installed near the top of the window on our right: https://en.wikipedia.org/wiki/Marta_Russell.

Installation view of an electrical socket that has been pulled out of the wall to expose its wiring. To the right and above the exposed electrical socket is a framed black letter board with what looks like a food menu with many letters missing.

A closer view of the exposed electrical socket, which has been pulled out a few inches from the wall, exposing green, red, and white wires in the wall. Two of the wires end in frayed copper filaments.

View towards the reception desk with the wall work with wood slats on the left and six mirrored, convex dome sculptures on the wall straight ahead, beside three columns of wall text.

Wall work made of wood slats connecting two black trapezoids reminiscent of keystones in arches to form a vertically-oriented half oval shape, like the right side of a capital D. A long, pink trough filled with a mud-like substance cuts across the composition at a diagonal.

An installation view of many convex, mirrored domes arranged in irregular pairs and groupings across a large wall in the background. In front of this installation is a small, colorful sculpture positioned atop a white plinth.

Installation view showing a fragment of a photographic mural on our left, and wall-mounted works by two different artists in the center and on our right, as well as a curtained doorway to a video screening room. The center piece consists of two white slabs out of which different shapes have been precision cut, as if with a laser. The works on our right are small rectangles with an ochre hue.

Slightly closer installation view showing a fragment of a photographic mural on our left, and wall-mounted works by two different artists in the center and on our right, as well as a curtained doorway to a video screening room. The center piece consists of two white slabs out of which different shapes have been precision cut, as if with a laser. The works on our right are small rectangles with an ochre hue.

Installation view showing a curtained doorway to a screening room on our left and rectangular works with an ochre hue on our right. The works are inset in the wall and bear impressions of some sort.

Installation view of a darkened room with a film projector displayed prominently at center. Opposite the projector is an image of a helicopter on a hanging screen.

Installation view of a darkened room with a film projector. Opposite the projector is an image of a helicopter on tarmac. The helicopter has an unusual design with a longer body and two propellors.

Installation view of the film projection from the opposite side of the projection screen showing the underside of the helicopter in flight.

A head-on view of a wall work consisting of two white slabs out of which different shapes have been precision cut, as if with a laser.

Installation view of a small sculpture on a plinth in the foreground that looks like glass balloons in the three primary colors knotted together. In the background are four framed, black and white works on paper by Jay DeFeo. From our left to our right, the works depict a detailed rendering of the neck of a tripod; an abstract disc shape with a dark circle at center; a detailed drawing of the rubber around the inner eye socket of a pair of goggles; and a shoe tree, again rendered in great detail.

Installation view of three small, mechanical-looking objects on pedestals in the foreground. One object looks like an astrolabe standing upright on its points. On the wall in the background are two black frames — one a horizontal rectangle and the other a square — containing rows of neatly ordered, printed documents.

Installation view of three groupings of small mechanical instruments on pedestals. The foremost grouping contains a pair of scissors and an astrolabe positioned upright on their points.

Two black frames — one rectangular, one square — containing neatly ordered, printed documents. Upon closer inspection, the documents in the rectangular frame are a signed contract dated 7 January 2016 and titled "Reparations Purpose Trust." The square frame appears to contain financial documents from the IRS.

Installation view showing the primary color sculpture, the mechanical objects, and a large print of a digitally distorted photograph adhered to the wall in the background. The print is rectangular but arches at the top.

Installation view of the digitally distorted photographic print, its top arch parallel to the arch of the building's ceiling.

Installation view showing two vitrines and a small video projection. The back wall is wallpapered with the same distorted digital print as before. Window slats along the right side of the image and an area that looks like wood grain indicate that it may be an interior.

Seemingly empty hallway with white walls and concrete floor.

Installation view of an assortment of rusty-looking metal objects laid out on the gallery floor. They look threatening, like animal traps or shackles.

Installation view of a small video projection next to two rows of thirteen and one row of fourteen black and white images installed in a closely-spaced rectangular grid.

Small, black and white video projection of an abstract image opposite a white pedestal.

Rectangular works inset into the wall with impressions.

Installation view of five molds inset into a white wall. The impressions look like they came from parts of an office chair. The molds are made of a yellowish, waxy substance with dark brown speckles throughout.

Close-up view of two rectangular molds inset into the wall. The impressions look like they came from parts of an office chair. The molds are made of a yellowish, waxy substance with dark brown speckles throughout.

Two more molds in the same yellow, waxy substance that look like knobs of some sort from an office chair.

Another mold in the same waxy yellow substance that looks like the underside of the arm of an office chair.

A print-out of an email on Wattis letterhead from Associate Curator Leila Grothe next to what looks to be an archival image from the Wattis archive labeled Garry Neill Kennedy and a shelf with more printed documents.

Slightly closer view of archival documents next to a shelf with more documents.

Installation view of printed ephemera in background and vitrine in foreground showing what looks like a drawing of a rudimentary aircraft or other kind of vehicle.

Installation view of a hallway with repeating posters on either side leading to a doorway on our left. The posters show an abstract photographic collage against a black background with gold and silver rods on either side. On closer inspection, the posters contain text that reads "Wattis Institute San Francisco" and "Seth Price is on our mind."

Installation view of a darkened, carpeted room with two black benches and five video projections. Three of the projections appear to be showing a soccer game. One projection shows two windows occupying the top left and bottom right quadrants of the screen. In each, two men are seated in front of a computer monitor on which a soccer game is playing. They both wear headsets and appear to be concentrating. The final projection seems to show the exterior of a sports stadium.

Installation view in a darkened, carpeted room with black benches of four video projections. The first and third videos from our left show individual soccer players in motion against the bright green astroturf of the soccer field. Running along the bottom of these videos are what look like electrocardiogram graphs. The second video from our left shows an aerial view of the soccer field with France on the left and Italy on the right overlaid with a diagram connecting the names of different players with blue lines. The final video still is a lo-fi view of the crowd with digital numbers overlaid as if taken with a camcorder.

Installation view of three video projections in a darkened, carpeted room with black benches. The left most video shows an aerial diagram of a soccer field superimposed over an image of a group of men with light skin wearing official-looking uniforms and lanyards. The center screen is entirely blue with some black text that seems to indicate penalty zones. The right screen shows two men seated at a counter with notebooks and pens and looking up concernedly at something happening off screen.

A darkened, carpeted room with a black bench and two video projections. The image on our left depicts a soccer player in a white uniform against bright green astroturf. Upon closer inspection, the player appears to be a digitally-rendered animation, like in a video game. The image on our right seems to depict the exterior of a sports stadium. Text in the upper right hand corner reads "01:51 2nd Half."

Installation view of a darkened, carpeted room with three video projections. The still on our left shows two men seated at a counter with notebooks and pens and looking up concernedly at something happening off screen. The screens at center and at our right show soccer games in progress. Across the bottom of the screen on our right is a graph showing the speeds of different players on the French and Italian teams. There are also German subtitles.

Installation view of a darkened, carpeted room with black benches and six video screens. The five screens on the wall on our right are shown at such a steep angle that it's hard to make out what's on them. The closest two are again aerial views of a soccer game with a graph tracking players' speeds on one. The projection on the opposite wall shows the stairwell of a concrete building, perhaps a stadium. The image is grainy with German text superimposed in the top right corner, making it look like security camera footage.

Installation view of a darkened, carpeted room with black benches and five video projection screens. The screen on our left shows a soccer game in progress. The second from our left shows the exterior of a sports stadium with text that reads "02:56 1st Half" in the top right corner. The third screen from our left, on an intersecting, perpendicular wall, shows a graphic of the field superimposed over an image of the game in progress. The next screen shows a soccer player in a blue uniform against the astroturf with a graph resembling an electrocardiogram across the bottom. The final screen shows an aerial view of the field superimposed with a graphic connecting different players' names with blue lines.

Installation view of a darkened, carpeted room of four video projections. The screen on our left shows an aerial graphic of a soccer field with blue, white, red, and yellow dots in what looks like some kind of database system. In the next screen from our left, two windows occupy the top left and bottom right quadrants. In both, a different man is seating in front of a computer monitor on which a soccer game is playing. They both wear headsets and appear to be concentrating. The third and fourth screens from our left show soccer games in progress with a graph tracking players' speeds in one.

Installation view of a darkened, carpeted room with black benches and three video projections. The screen on our left shows an aerial graphic of a soccer field superimposed over an image of a man with light skin in a suit and tie. The center screen shows an aerial graphic of a soccer field with blue, white, red, and yellow dots in what looks like some kind of database system. In the screen on our right, two windows occupy the top left and bottom right quadrants. In both, a different man is seating in front of a computer monitor on which a soccer game is playing. They both wear headsets and appear to be concentrating.

Installation view of a darkened, carpeted room with black benches and five video projections. The screen on our left shows an aerial graphic of a soccer field superimposed over an image of a man with light skin in a suit and tie. The next screen from our left shows an aerial graphic of a soccer field with blue, white, red, and yellow dots in what looks like some kind of database system. On the next screen, two windows occupy the top left and bottom right quadrants. In both, a different man is seating in front of a computer monitor on which a soccer game is playing. They both wear headsets and appear to be concentrating. The final two screens show soccer games in progress, with a graph depicting the speeds of different players in one.

Installation view of a darkened room with tables and chairs arranged cafe style with a video projection showing two figures in conversation in the background.

Installation view of a video projection showing two young women in conversation outside of a house at night with other figures in the background. One holds a beer can and a cigarette.

Room with tables and chairs arranged cafe style, video screen retracted revealing windows onto the street.

Installation view of a row of posters hung on the wall advertising past exhibitions of work by the artist Seth Price.

Installation view of a row of posters advertising past shows by the artist Seth Price as seen from a platform at the front of the room.

Installation view of additional posters advertising past shows by the artist Seth Price around a small bar with string lights overhead.

Additional posters advertising past shows by Seth Price.

Slightly closer view of additional posters advertising past shows by Seth Price.

A closer view of posters advertising past shows by Seth Price. One reads "Folklore U.S. Seth Price" in teal letters on a gold background.

MechanismsThe Wattis Institute, San Francisco

Exhibition Images

Mechanisms
The Wattis Institute, San Francisco