Rose Salane presents ’60 Detected Rings’ at Frieze New York 2022 – ARTnews.com

Rose Salane, a Queens native, is known for pulling harmless materials out of the darkness to reveal them as repositories of her hometown’s history. Such a project, 60 rings detected (1991–2021), is currently on display as part of its presentation at the Carlos/Ishikawa booth at Frieze New York.

This is a new iteration of an earlier project: in 2019, Salane acquired a batch of 94 rings auctioned off by the city’s Metropolitan Transportation Authority. She undertook a three-pronged examination of the rings: a jeweler assessed their size, color, weight and shape; a biology laboratory extracted remains of mitochondrial DNA from the skin of the objects encountered; and an intuitive reader probed the spiritual residue of the previous owner.

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The dozens of rings exhibited in 60 rings detected were acquired by Salane from a metal detector that unearthed them for decades in the sands of Atlantic City. Again, the artist transported the rings between a psychic and a lab, which was instructed to do a second metal detection of the batch. Salane has recorded any change or anomaly in the electromagnetic frequency retransmitted by the metal. The rings were then mounted in a frame, each accompanied by excerpts from an investigation into their provenance.

The wall installation is a cool, meditative presentation on the mysterious life cycle of what becomes of a lost object after it’s been stripped of its meaning.

“It was important to put these methodologies, these ways of interpreting truth, together,” Salane said. ART news. “This is how we interpret the world on a daily basis, we struggle with science and spirituality. These fields represent different ways of assigning a value to an object. »

One of the rings bears the initial “E” set in the heart; inside, an inscription reads “PK”. A note from the medium reads: “This ring is a promise ring. It shows that the people who gave it to each other are no longer together.

Elsewhere, the results of its trials were inconclusive. Most of the rings have hidden their stories. Ghost owners have remained elusive, but that’s hardly surprising; How many times do we try and fail to understand even the person next to us?

Intimacy is here approached obliquely. Rather, the viewer discovers Salane and his collaborators through the meticulousness of their work which, according to the artist, is not finished. Maybe curiosity or obsession prolongs the project, but its driving force was empathy: damaged things also deserve dignity.

An elegiac thread runs through the practice of Salane. For his contribution to the Whitney Biennial, 64,000 circulation attempts (2021), Salane collected tokens used as fake bus tickets in New York – casino chips, Monopoly money, metal washers. It is an ephemeral destined to waste which has been returned to it by its prestigious setting.

Taken together, Salane’s art presents a collection of unreachable stories. In the bustle of an art fair, 60 rings detected invites the viewer to slow down, to pay attention to the smallest details of an object’s story and to consider a city – a container of strangers – as a cosmos of melodramas.

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