Friday, December 2, 2016

Aaron Garber-Maikovska at High Art


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"It will never be realistic for him to claim a critical position for his current works outside of consumerism" says Jonathan Griffin before connecting this thought to the artist's investment in areas of bland mass commerce (which we could extrapolate here to the gallery itself) but never really seeing the point through: What is with the strong connection between commerce and Garber-Maikovska? The higher powers commanding the hand on Garber-Maikovska's ouija-board canvases appears a ghost suffering palsy attempting graffiti: A lot people point out they like hieroglyphs or some beginning cuneiform. The point is they're inscrutable but look meaningful. A ghost affect. This has something to do with commerce, with commodities' ability to move us to buy.


See too: Group Show at Salle PrincipaleMerlin Carpenter at MD 72Aaron Garber-Maikovska at Clearing

Thursday, December 1, 2016

Nina Canell at Wien Lukatsch


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I'm not entirely convinced art's absorption of the technologic look isn't simply a means to bring something it doesn't understand into a realm it does in order to feel some small control over it. Let's face it, the world has moved beyond pretty much everyone, we only get our small corner of it, and it would make psychologic sense to develop pathologies in order to feel control of something you have little over. Fetishes develop over a lack?


See too: CAWD on Fetish, Ajay Kurian at Rowhouse Project, Simon Denny at MoMA PS1, Ben Schumacher at Musee d’art contemporain de Lyon

Past: Tris Vonna-Michell at Jan Mot

"the glowing object claims some illuminated significance that connotes but doesn't necessarily mean but just gives a screen to look into and empty."

Click here for Tris Vonna-Michell at Jan Mot

Tuesday, November 29, 2016

Fred Lonidier at Michael Benevento


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Politics aside, which at time when a president-elect we don't like is one of who thinks such trade agreements are up for discussion while everyone we do like thinks any discussion spells, like, imminent economic apocalypse and a current president who we didn't like but as the opposite rears head now do and who promised to but didn't enter discussion of said trade - and so what a time for this exhibition - making a real ideological pickle, the work which can't be read with any real ease here and who probably could have stood long enough there, and which proves the book it needs, and so can't easily be read anytime soon and so we interpret it at the level of surface, form becoming the content, the affectual, having all sorts of relation to today, like watching debates with the sound off and which we sometimes did, it looks pretty good.

Saturday, November 26, 2016

Daniel Buren at Bortolami


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The ascetic refusal Buren's game of course eventually gives expression to Heimo Zobernig. Buren's game aimed outward as critique of the walls, someone would eventually see the opening and drive it at the art itself. Zobernig wetting the sand beneath feet to prove it was quicksand all along. The mental fart of Zobernig reairs in seeing these, Buren, in trying to ascertain the difference of one but tone. It's the Baderian question of a difference between fire bricks on floor and shrimp on foosball. Of the complete dumbness of objects, their utter asinity. Of course Zobernig needs Buren as his hostage in order to remain in negotiations, and Buren's calm cool continuation despite it, still striping away, is sort of endearing if not insane. The gallery, the institution, looks on with a smile.


see too: Darren Bader at Kölnischer Kunstverein,  Heimo Zobernig at IndipendenzaHeimo Zobernig at Kunsthaus BregenzHeimo Zobernig at Simon Lee

Friday, November 25, 2016

Pentti Monkkonen at Truth and Consequences


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"Blanks" is a production term for a material partially formed that has yet to receive whatever finalizing process will finish it, painting, milling, etc. The blank receives all type of process and treatments. The work formed work yet unfinished. They then recieve the processes of production, for Monkkonen the individual sign systems at play, the quasi-readymades applied the blank of painting. Monkkonen who has obviously been playing with painting as product for some time. The bug splatter, like the expressionist's before it, becomes the interpretable tea-leaves of the painting, the same as the cell-phone roach and patterning: signifiers that perform the interpretable content of "Monkkonen." Again treating painting like a blank, a material for production, vessels.


See too: Pentti Monkkonen at High ArtPentti Monkkonen at Jonathan Viner

Past: Pentti Monkkonen

"Monkkonen's box-trucks literalize the metaphor: painting as commodity vessels in transit. What were rectangular become parallel grams sent for accelerating markets. The vessels are moving fast, the trucks skull cab and silver toothed grill portend their too-fast-too-young market crash. The flow of brand. Graffiti, produce, logos, brushstrokes, artistic identities all competing for recognition."

Click here to read Pentti Monkkonen at High Art