Thursday, July 19, 2018

Pamela Rosenkranz at Karma International


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As ostensible critique of pharmaceutical, technological and advertorial strategies, Rosenkranz deploys them to great affect in art, using their strategies in consolidating attention and maintaining lure over the viewer. The attractive pink, the technologic jargon. This exhibition showcases among other things "Anemine" "a new generation of medical products" that are synthesized chlorocruorins, oxygen-binding hemeproteins found in many annelids, manufactured green worm-blood essentially.* A portion of the afternoon googling substances, phylums, blood hemotypes, the only results for Anemine are Rosenkranz and a German electronic artist. Maybe Anemie really is that medically cutting edge, but noted about earlier of Rosenkranz by Abreu itself: the substances are often fictional, and Anemine appears an artistic bruhaha of long long line of products and "doctors" with liminal connections to good medicine, from InfoWars guy to Tom Brady's longtime personal trainer hawking products with vague but powerful claims. So long the as the promotion outspeeds due diligence the product will remain valid. And they are fun to say: NeuroSafe, Anthroplex, Brain Safe, Myco-ZX, TB12, Super Male Vitality, medical leeches, all seeming to counteract the very real issues of Atrazine and xenoestrogen, though Obama did not turn the "frickin' frogs gay." Look at the Bosch-like extraction of Horseshoe Crab blood chopped in half and bleeding out in dungeon apparatuses into jars for highly valuable medical technology, for blue blood, so it's not hard to imagine research extracting green worm blood for sport, and for an artist to get the good idea to make paintings with. "gives consumers a sensation of security: the less they understand the terms used to describe the product, the more reliable it seems, because it's at the cutting edge of technology." Horror film foreboding, green blooded insectoids, the large company willing to make money of its extraction, everything there for a real good narrative.


*Synthetic blood is currently being developed and has actually been created before, though though never approved for use anywhere outside of South Africa. A side effect was noted to be flatulence. 




See too: Nancy Lupo at Antenna SpaceNancy Lupo at Swiss Institute

Wednesday, July 18, 2018

Puppies Puppies at What Pipeline


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expression through other's forms, the works cited accounting its ideation board if not entirely readymades. In fashion we express through brand, we stand behind labels to represent our better selves. Express through cultural containers, languages of mass culture, and the subject dies metamorphosing into its branding, adorned in its collection. Behind a hostage of the forcibly public-domained. You get to disappear behind others'. A system of drag (drag as corporeal parasitization, cosplay) but too the dirty and cruel world of bodies forced to adopt the identity and means of the larger cultural empire that oversees it, i.e. Adorno’s conform or perish: and that there is a sadness at the base of PP’s comedy that involves the body adopting not its own subjectivity but the the larger culture's as its means of representation with the implicit and ostensible threat to not be seen at all. Purell evaporates leaving your hands covered in a vast wastelands of bacterial corpse.




see too: Puppies Puppies at BFA Boatos
Past: Puppies Puppies at BFA Boatos 

"Like oral traditions whose stories allowed modification to fit the moment’s ethos, PP’s unconsensual public domaining of intellectual properties proposes the, e.g., Chiquita banana as open source material. [...] using brand as pre-established content for its storytelling, inhabiting the corporate/commercial sign systems that have come to determine our world. Harry Potter is the new Iliad for better or worse...."


Tyler Coburn at Koenig & Clinton


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We somehow trained for emptiness. Animism, the occult, remote viewing - tools we take from other industries to make sense of the white walls before which shimmer in colored noise because we've been staring so long."too little signal, too much noise" the PR states. In noise we see ghosts. "Upton Sinclair was convinced that his second wife Mary had telepathic abilities" which seems like the intro to a sexist joke, but instead him attempting proof: experiments communicating drawings by mind 40 miles away. 22% accuracy. Here try this one out: I'm sending out what I really think about this show right now. Got it, didn't you? It was inside you all along.


See too: Yngve Holen at Fine Arts, SydneyEi Arakawa at Kunstverein Dusseldorf“Being Thing” at Centre International d’Arte et du Paysage & Treignac Projet

Monday, July 16, 2018

Marie Angeletti at Atlantis


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exacerbating all the annoyances of images today, Angeletti's are always claustrophobically opaque, too close, dim. Not quite sure Angeletti has ever shown in a completely lit space, and the once maybe had had lots of photos of rotational laser lighting, the sort of whirliwig mimicking the driftlessness of her own floating so contextless unanchored. There's an interest in the roving light. Without didactic we see Three Seascapes, possibly, but in another a didactic for painting we cannot see. Herbert saw it early: "If pre-existing, these photographs meant one thing in a catalogue, museum or wherever, and now they signify something else or, intrinsically, nothing at all: detached, rivulets in a larger directional flow. ‘Thanks, Internet,’ such work murmurs.because the work does feel like the internet, forced with lips glued to feed, like we all are. You can assemble the parts to de-crimescene what's on display here, or wait for the another writer to mutate to docent, to explain, but that'd be beside the point to be at a loss shuffling through image that Angeletti seems determined to maintain in limbo, contextless. The breadth of Angeletti's work looks like a google image search for a long string of arbitrary numbers, irrational, an array of the world's arranged by a search term we cannot see, which, in an era of almost total fuck-all of contextless images, our cognition is molested by daily could make an art practice mirroring such seem a brutal finger but at some point we have to be trained for this, we could attempt to make sense of, it all, if we wanted to start lifting.


Sunday, July 15, 2018

“Tour of the Artist’s House” at Reserve Ames


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The documentation becomes its own photographic art. On Reserve Ames own website the documentation is gray, but sent through other waters - CAD or Artforum say - they usually turn colors. A strategy preserving exclusivity. Now not even the pipes stain them. Ostensibly an exhibition as tour of the artists' home, the important part of the new documentation is that it is actually an announcement card.

Friday, July 13, 2018

Allison Katz at MIT List Visual Arts Center


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the two subjects to painting, the thing represented in paint and the artist-as-subject rendering both. Painterly "style" is the sediment of an individual's subjectivity accumulating in the granules of their decisions eventually garnering a pile: identity. Look through the glass of another's eyes to see their world through them. We - despite all - trust art to tell us something about subject, and Katz's "self-portraits" make this mirror between painter and self-subject anxious by threatening this trust: painting that feel like fibs, competing styles that delay any coherence in its subject, the painter, our trust for the text to tell us something about the author. Others have called them palindromic or Janus-like, expressing this anxiety over the mirror. An irritant in our lenses, the paintings.


Leidy Churchman at Koelnischer Kunstverein,