In his essay “Painting Beside Itself,” published in October magazine (Fall 2009), David Joselit defined “transitive painting” as a “capacity to hold in suspension the passages internal to a canvas, and those external to it”—a quality clearly present in Jonathan Binet’s works. Binet (b. 1984), a recent ENSBA graduate based in Paris, has developed a working method in which painting is closely linked to performative practices and installation. In his recent solo show at Gaudel de Stampa, “Les mains dans les poches, pleines,” the gallery acts as a surrogate studio. The artist’s gestures and movement —a clin d ’oeil to action painting— are re-inscribed into the given architecture and become traceable. Embracing chance in the process of creation, Binet creates indexical yet open frames and networks in response to the context in which his work is shown. He delineates space: a spray-painted line moves from walls to ceiling. Here and there, an abstract canvas leans casually against the wall, as if to stress its material presence. With two upcoming solo shows this fall, at CAPC, Musée d’Art Contemporain de Bordeaux, and Palais de Tokyo, Paris, Jonathan Binet keeps us in suspense. (Anja Isabel Schneider)