Tuesday, September 19, 2023

Michaela Eichwald at Neue Galerie Gladbeck


Has Eichwald gone pleasant? Surely there could be some critically interesting reason for the turn.. but what is it? A flower has grown from the mud? All that previous gasping intestinals, mud men, and tube brown were only mulch, to grow this? When Oehlen made his turn from swamp butt to the smeared super Crest contemporary there was something something kept, the stupidity of smearing paint. But these are pure handsome, brushed hair and all. 

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Monday, September 18, 2023

Hamishi Farah at Maxwell Graham / Essex Street


It's a hard press release to beat. One can only be more explicit. In gaming, "the meta" is the strategy created by players using knowledge of the inner workings of the game mechanics. For something like chess, "playing the meta" is axiomatic to the game, whereas for a role playing game, a certain suspension of disbelief is required, and "playing the meta" is frowned upon. Since Art is our collective cloud based MMORPG, it is a game requiring its players to pretend like they aren't playing the meta - like they didn't lick the curator's cheeks clean after dinner. Like their abstractions are of conceptual merit. We know art's function and follow that to its form. Broodthaers aside, artists acknowledging the meta is tongue in cheek - Krebber or contingent painting or whatever. But Art's meta was basically laid out by Bourdieu and everyone kind of just steps around this like they stepped around the rich but racist patron until recently it became more meta advantageous to call them out publicly. The meta is always up for debate. The point is, "black portraiture has been through an intense though not unprecedented revaluation in recent years" and that was white's first move. Black to move next. And since we know art's inner function can predict the form, and lo: Farah makes that obvious move, Black Painting. Farah does what he does best, the politics self represent. The exchange in chess, in art, is a foregone conclusion. It's the stupid, brazenly open transaction, of seeing the pawn offered, being taken, that makes it fun.

See too: Hamishi Farah at Fri Art

Friday, September 15, 2023

Ibrahim Mahama at Kunsthalle Osnabrück

Dressing the city building in the linen of "forced laborers" - it's.. a metaphor for sure. But putting a dress on a building interestingly Venturi-Scott-Browns it’s architectural identification. The building could display its intention, signal its function. The building should work for us, even if the linen's historic symbolism is a bit... But its the only way symbolism works, you explicitly tell people what it means. 

Thursday, September 14, 2023


"... the closer it can be to being without qualities, is its psychedelic quality. The paintings warble in closeness to a reality that they fail to produce. " "the asymptotic approach to image, falling towards the ground it aims at and missing, closer, closer, closer, feel vertigo.

Click: Jesse Benson at Michael BeneventoJesse Benson at Michael Benevento (2)

Wednesday, September 13, 2023


... that images exist because someone somewhere, regardless of skill or self-awareness to conceptually edit their mental garbage, had the desire for garbage. Paintings like a physical wish, and these ones just happen to be kinda gross. Someone cared enough to make these. This desire "speaks" - has meaning, a subject appears, however abject, the grey slime of the human, in paint form. 

Read full: Mads Lindberg at C.C.C.

Nicolas Party at The Modern Institute

As Party hues desaturate the underpinning becomes clearer: banality. It was always there it was just masked by Party lighting. The Disco turned off, the overhead lights reveal your unpleasant face. In the other room of the paintings of the world burning? That's your friend reminding you you've got work tomorrow, now today. The world is on Fire! Thanks Nicolas! Gosh sure wish we hadn't taken all those Party drugs yesterday. I might be able to feel something about this impossibly lackluster apocalypse of today. But this is how the world ends, incredibly mediocre paintings. 

Past: Nicolas Party

"...a buoy softening the blow of their initial banality. But first hating these paintings is the point. The crucial moment comes when you give it up, criticality, and let the nicities of them wash over you. They want you to accept them as they are, to require nothing more. God they're so horrible, take some pleasure in the perversity of liking them."

Nicolas Party at Gregor StaigerNicolas Party at The Modern Institute