Tuesday, December 11, 2018

NADA Miami 2018


The naive and the earnest that seem to be rising. That colorful stupidity that drips, clung to, stuck on, chunky. Even three years ago it seemed all materiality and cartoons, the first major drops of surrealism. Now figuration in awkward forms. Purvis Young still looks great, even as everyone tries to meet him, but most are done a disservice. But this is probably what the next 3 years have in store.

Past: Trevor Shimizu at 47 CanalTrevor Shimizu at Rowhouse Project

"direct and dumb relief against the muddled intentions of more artistic means"

Monday, December 10, 2018

Kaoru Arima at Queer Thoughts


Drawing was at one time a knowledge. Drawing of fetuses cut from cadavers were cutting edge science. The limits of knowledge were defined by looking at something really hard. When science and tech jettisoned oils and pencils from its repertoire modern artists got mad and crushed representation into something resembling a crumpled Coke can, seeing all sides at once, and this violence was lauded. I find it a bummer how quick artists were to give up looking at their sitters, the ones who did seem to continue looking at their sitters did so in ways subservient to the miracle of technologic reproduction all too Close, and look how that turned out. There's others ways of looking of course and surrealism and non-objective versions oscillated since. But so the PR firmly presents Arima's as looking albeit in the haptic sense, butting them up to the Francis Bacons they lean but don't ultimately fall towards. And though their reproduction isn't necessarily representational it is satisfying that the PR at least affirms their accuracy.
Kaoru Arima at Misako & Rosen

"... since early modernism human features bludgeoned to bloom bruise bouquets, or apply rictus like geometries, portraits of a stroke. On and on painters rushing to do injustice to portraits... Here, the face is more figurative idea, an outline, a Jawlensky like framework for which to hang wanton libidinal paint. ...We find its horror almost playful, cute, even interesting, a learned tolerance for pain."

Past: Kaoru Arima at Misako & Rosen

Sunday, December 9, 2018

Tala Madani at 303 Gallery


The projection screen of painting is the same projection screen as the minds eye. You draw from one to draw onto another. Mirror images. And Madani's projection screens make this act explicit, the theater of the imagination. Like Wade Guyton who rode a wave of funereal optimism that we would one day merely press print on our dreams. That painting expressing its ability to conjure is desirable because it proves wishes can be made concrete. You can dream it, you can print it. Or paint it, like all those paintings of Jesus. But Madani shares a similar nihilism as Guyton: that what we will see in other's printed conscious is a lot of nightmares, Madani's.

See too: Wade Guyton at Academie Conti & Le ConsortiumTala Madani at David Kordansky

Saturday, December 8, 2018

Klara Liden at Reena Spaulings


Dance in the expanded sense. The ability for a body to move, across a theater stage or clipping fences to access a city's forbidden sites. Liden's early video dance beating a bike to death, or hysteric strip on train car. The literal moonwalk and ballet practice. Videos. Dance. The posters are just tchotchkes advertising this theater performance, bodily movement that Liden's practice always been invested in.
So then here, the pratfall, physical comedy, SLAPSTICK. The world turned to rubber. "In social psychology, the pratfall effect is the tendency for attractiveness to increase or decrease after an individual makes a mistake. An individual perceived to be highly-competent would be considered, on average, more likable after committing a blunder, while the opposite would occur if a person perceived as average made a mistake." There's something about our world today where slapstick isn't as funny.
Past: Tala Mandani

"Conjuring in the virtual theater of imagination's Matrix-like plane, Madani's paintings foreground the drawing of imagination from an abyss, that, like Bacon's claustro-realms, become spaces for enacting and enacted belittlements and torture, and what this means for Madani in psychoanalytic terms is hard to tell.  Mandani has been painting these men for a long time, and when a grey man in the soft shape of middle age sporting an open robed Santa outfit urinates on babies in a wallpapered room, there isn't a shock, the babies already wear the beards of their adulthood..."

Click here to read: Tala Madani at David Kordansky