Saturday, December 16, 2017

Richard Aldrich at Adrian Rosenfeld


"his ever-accumulating practice."  

Anyone spending any significant time in struggling art students' studios would recognizes these experimental searching, objects-as-attempts considered less for what they are than the potential in an artistic career, i.e. it's not contemporarily gleaming right now but it could be polished later if I chose this object-as-trajectory as my career, the object as long term possibility. It was Aldrich's decision to accumulate rather than throw the fits, recognizing their stupid interest as potentials, each a tangential to the great whale of capital P Painting. Because there's an artist somewhere that does this full-time, which we were all trying to avoid such jobs.  Alrdich's attempts at personally expanding the field of painting attend their comedy-almost by feeling so part-time.

See too: Richard Aldrich at Gladstone Gallery

Friday, December 15, 2017

Past: Karla Black

"Despite the inanity of the moniker, soft sculpture probably matters in its expression of a development in how we best see ourselves represented, and the materiality ever since still of course representative of us, of our our world as we see it, the softest garbage in the wind."

link: Karla Black at Museum Dhondt-Dhaenens
link: Karla Black at Raffaella Cortese
link: Karla Black at Raffaella Cortese

Alexandra Bircken at Le Crédac & BQ

(Le CrédacBQ)

"Double entendre of object like innuendo complicating the minimalist mantra of what you see is what you see, because what you see is sometimes sexually confusing, leather seats in car beginning to look like the lap of a tanned, taught, naked man."

And like many today Bircken finds ways to make the body appear through its latent expressions in commodic forms that conform in packages for it, the body. The majority of the objects we interact with are deformed to our bodies, are created in our image, wraps for us, and our absence makes them appear as ghosts, apparition in objects, which float like innuendos among polite society, tenuous, unmentionable which Bircken's digging at finding ways to all but place the words on our tongue: the body, the butthole, the flesh, the donger like thing you handle every day.

The body too:Erwin Wurm at Kunstmuseum WolfsburgOlga Balema at High ArtOlga Balema at High Art (2), Nairy Baghramian at Museo TamayoRon Nagle at Modern Art"Being Thing” at Centre International d’Arte et du Paysage & Treignac ProjetKatja Novitskova at Kunsthalle LissabonNancy Lupo at 1857,  Torbjørn Rødland at Kunsthall StavangerMartín Soto Climent at Proyectos MonclovaRoger Hiorns at Annet Gelink
Past: Richard Aldrich at Gladstone Gallery

"Aldrich's befuddlement of the terms and conditions of paintings makes for obtuse, tangential starts digressing from those painting histories generally acceptable as beginnings. If the paintings seem facetious or frivolous it is because Aldrich doesn't necessarily venerate the histories that are painting cannon, and so which attaching almonds to a painting is not only a thing to do but becomes naturalized as a term of painting - possibly - as all the talk of flatness once was..."

Wednesday, December 13, 2017

“Hecate” at Various Small Fires


Of course art's a witchcraft, disproved by the sciences, elucidated by sociology and psychology, in which a practice's material insistence affects a viewer magically: think tarot, images drawn and illuminated shine to bounce around in your head to alight some new substance inside, like any painting. The further you believe in the drawing the more deeply it affects. A potion for wealth eventually brings it through stubborn physical existence on your kitchen counter to remind you that's what you value, seek. Any object's aboutness, its meaning, it tautologically enacts like a string tied around your finger: the string doesn't necessarily intrinsically symbolize "pick up eggs;" its meaning is conjured by the reminded who tied it. Objects are imbued with meaning, even snakes humans are not primed to fear but seemingly primed to develop some emotional response to, blank slates all. Like art the trick is getting anyone to believe it enough to keep it in their home, tie it to their being.

Monday, December 11, 2017

Martin Soto Climent at Atlantis


The gesture given frame, cradle for its image, able to be sent, transacted. The clear delineation of artistic parameters allow fungibility. Soto Climent's sensitives haven't always been so packaged. The packaging lends a sentimentality, a hope for stasis, permanence, removed from the chaotic world into an order, like butterflies pinned to boards, like a new gallery seemingly without website finding itself well represented on white backdrops.

See too: Martín Soto Climent at Proyectos Monclova

Sunday, December 10, 2017

Gilbert “Magu” Luján at University Art Galleries, UC Irvine


The prototype produces a form to be extrapolated into a production, an object purchased and used, the sediment of which accretes a reality, our reality, the ubiquity of objects that littering our day and the world; the art object prototypes something similar but different. The mass produced car must appeal to millions, but as the product moves further into niche recesses of impossibly improbably decisions and the audience approaches one we begin to see less a car and more an accumulation of decisions which fracture common sense, the subject of what created it, the artist.

See too: Robert Grosvenor at KarmaJonas Wood at David Kordansky