Press for "White on White: The Pilot (just like being there)"
Jonathan T. D. Neil has offered a stunningly insightful response to our current exhibition on ArtReview.com. Here's an excerpt:
The kind of art that Eve Sussman and Rufus Corporation make often requires a bit of explanation, so bear with me: their current project, ongoing at this point, is titled White on White: A Film Noir. Devotees of art history will quickly recognise that Sussman and Rufus are once again drawing upon a significant work of past art, and in particular of past painting, as – how to describe it? Let’s call them 'datums': facts of orientation that can serve as a reference point with which to find one’s way. For 89 Seconds at Alcazar (2004), the datum was Valesquez’s Las Meninas (1648); for The Rape of the Sabine Women (2007), it was David’s 1799 masterpiece of (roughly) the same name; now the datum is Kasimir Malevich’s Suprematist Composition: White on White from 1918.Read the whole thing...it's a critique that members of Rufus Corporation say is among the best responses ever written to their project.
The cartography in which Sussman and Rufus engaged for their own White on White involved a kind of nomadic travel through central Asia. As Jeff Wood of Rufus describes it at one point in a dispatch from the Caspian Sea: “This is a research trip. For an art film about extreme combinations. Architectures. Economies. Landscapes. Personalities.” The Rufus Corporation website has been given over to a blog that details some of the travelers’ more bizarre and enchanting experiences, from sharing vodka in the early morning with a pair of freelance hydro-geologic archaeologists in Almaty, Kazakhstan, to bribing their way onto a train heading for Turitam, the rail stop for Baikonur, the former Soviet settlement and location of the Cosmodrome, birthplace of the world’s first space program.