Friday, October 21, 2016

Erika Vogt at Overduin & Co.


Big objects mock us. They hystericize space by treating it as plastic, irrationally. And their lumpy forms remind us of our bodies, which makes their injustice to the general order of space a personal issue, taking up space that was, ostensibily, meant for us with a big cartoonish grin. They are weapons. As theater props and staged here they are meant to have a relation to your body.

See too: “Puddle, pothole, portal” at Sculpture CenterAmanda Ross-Ho at The Pit

Past: Zak Prekop at Shane Campbell

"The preponderance of overly tasteful paintings today is, in one sense, critically justified through its “reexamination” of modernism, particularly looking towards the forgotten’s more decorative tendencies, Delauney, Munch, Jawelensky, Hantai...."

Past: Zak Prekop at Shane Campbell

Thursday, October 20, 2016

Julien Nguyen at Freedman Fitzpatrick


The unending loveliness of these, that, even we must admit, are good, technically adventurous and ripple with sex. Variance in finish shimmer like veins in marble or cocks, undulating detail as arousal: detail is attention paid, stimulation, titillation. For anyone who ever found eroticism in the restraint and rigidity of Piero della Francesca, here is your proof melting with Althoffian foppishness. These things bruise sex out of their flesh. Paintings with the depth of early video games while retaining the material pleasure of scuzz: a man smeared in choking purple softness, and legs splayed. Get close to his pink hand. There have never been more homoerotic paintings than these.

See too: Julien Ceccaldi at Jenny’s

Wednesday, October 19, 2016

Dena Yago at Sandy Brown


The PR all but stating the genericness of the images, a perfectly acceptable position that Yago, for a time now, has run with. Genericness is the power of seeing reality transitioning to its metaphor, or concept, its particulars liquify into the universal soup, qualities dissolve. It's really hard to see generic images. If seeing is forgetting the name of the thing one sees then knowing it is blindness. On being too bored to see. The optic cable is capable of data transmission spikes of roughly 1.25MB/s - the same as an ethernet cable - that are metabolically expensive. As a way to disable the brain's shortcut system researchers don goggles that invert the world into a 24/7 color negative and minds reel at processing raw data, causing profound disorientation, loss of appetite, inability to recognize common objects, colleagues, or family. "This is a hardwired system, and no matter how much you try to override it intellectually, tell it what it should see, it will tell you what it really does see.A difficult system to override, look.

See too: Oscar Tuazon at Le Consortium & Paradise GarageLarry Poons at Michael Jon & AlanHeimo Zobernig at Kunsthaus BregenzDarren Bader at Radio AthènesKaspar Müller at SociétéNancy Lupo at Swiss Institute

Tuesday, October 18, 2016

"You would think by looking at Jerry Saltz's instagram, and viewing his general media presence, that there is nothing going on in the world besides the fact that half of the population owns a vagina. We have waited to see if he would eventually evolve… if eventually he might become interested in communicating something besides other people’s genitalia, and move onto a more relevant topic- his obvious and continued mid-life crisis. It only takes thirty seconds on Saltz’s instagram to see how destructive and trivial his interests are. How he is using his power to openly fetishize female bodies, in lieu of actually presenting valid cultural critique. [O]ne out of every three of his posts is a vagina."


Monday, October 17, 2016

Shadi Habib Allah at Reena Spaulings


The metaphorical potential is there, poetic reading of the viral clone system's invasive colonizing and laying waste to natives by blanketing them - kudzu kills by heavy shading, eclipsing the plants whose structures uphold it, a "structural parasite - though other of Habib Allah's projects seem less reliant on explicit metaphor and instead finding some geo-political point to wrest a myth from, an unseen point of destruction, dark communications, or self-lubricated sliding of the fat, i.e. the dislocation of the point, contextual slippage, the lack of a point here, spreading metaphor.

Friday, October 14, 2016

Valerie Keane at High Art


The capitalist equivalent of bodied-objects coughed up in the night, the night terrors of Haegue Yang shopping spree, they assemble the technologies of display that here become streamlined, spined, and injectable. Sharpening the garbage of post-ford CNC driven custom-ordered world, the grosser parts of the parts of the capitalistic buffalo, amassing the plastic neurosis that gives men breasts dissolved into micro-slush of our eco-systemic foodchain: we have plastic fears. And all the sharp points here remind us like swallowing jagged metal Krusty-Os of the possibility of bodily harm on all those sharp points against our bodies. Inverting Genzken's blind-beautiful speed of production to engender the nightmare of its waste. A real nightmare.

See too: Isa Genzken at David ZwirnerYuji Agematsu at Real Fine ArtsKAYA at Deborah Schamoni