Daniel Horn
              Apparitions, classified as celestial and flighty phenomena, spawn earthly suppositions from their beholder. And these thoughts can be utterly profane: Are Lassie and Bambi checking each other out, as Elad Lassry’s Collie (Deer) (2013) ensemble suggests? Wasn’t Bambi a minor? Wasn’t Lassie gay? What gender was Bambi supposed to be in the first place? Such are the less profound questions this multifaceted summer group show elicits, which in Lassry’s case hark back to the cherished wildlife from western pop culture. To this extent, both deer and collies are fully deserving of the same iconic lionization that their two-legged counterparts have enjoyed, like Marilyn Monroe or Elvis Presley, and subsequent Andy Warhol-worthy stars like Debbie Harry. As if transformed hands-on by Ikea’s creative team into something that resembles a wall-mounted, cassette-tape rack, Harry’s visage in Gregor Hildebrandt’s KSK Blondie (2014) materializes as neo-Pop-halftone-raster art. Returning to Lassry’s typically sleek coated identity politics of just about everything—including what might be conspicuously bulbous Christmas decorations and an inconspicuous wave pattern in girlish, strawberry colored tones—one also passes by Alicja Kwade’s delicately quiet, golden watch hands. Stretching across four different iterations from a mere 12 hours, passing through 24 hours, then 48 hours until …

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