K.r.m. Mooney at Altman Siegel

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Cady Noland's handcuffs were jewelry for metallized wrists, about we attach people to a world. A pearl sets off the clavicle. SFchronicle called them "spiritless" after getting it correct that"their relationship to the body is part of the art." And the gallery wears them, their wreckage as jewels. Lack the imagination to see the institution as the digestive body that it is. The engraving block shown here is intended to anchor small fine things to the earth. So they can be manipulated into delicate forms. Here - without its rubber base - untethered, a listless buoy weighted. In the other room copper bite plates allow you an orthodontics to ground yourself in the case of electrical storm as well as wear the institutions like bling: the white walled architecture clenched to your teeth like a grill. Some of Paul Wall's grills cost $30,000 but these walls cost more.


See too: Lucy Skaer at MRAC, K.r.m. Mooney at Pied-á-terre

Past: K.r.m. Mooney at Pied-á-terre

"apart from its decorative function, the "setting" of jewelry is key, the holding of an object, the micro-fetish of attachmenting objects presented and the problem of material convergence, of which Money is all about. ... we conceive our body in relation to it, feel our meat as sinew and rod connected. Like the decorative decorates its thing, not the finger but the person atop flesh."

Read full: K.r.m. Mooney at Pied-á-terre

“J A N U A R Y” at dépendance

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Paintings we bruise to reestablish some body, flesh, into the cartoon that has become pervasive, some hematoma between the lines inked to delineate ourselves. We don't want to be cartoons. Our bodies, paintings, can't take hammers like a liquid cat can.

Luís Lázaro Matos at Bastide Projects

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Hockney's pools had a sort of nostalgia without yellow, but a bleaching sun and chemical blue stripped it to bone, something almost caustic, which becomes the threat of sharkbite here. That Stranger by the Lake vibe, something so pure clean with an undercurrent, predators in the water, eels under clothes, all the things a beach provides. Sort of like a gym sock.

Past: Karl Haendel at Susanne Vielmetter

"Like the intricate engravings underpinning currency by making its redrafting more labor-time-intensive than it's worth, drawing authenticates with technical prowess to render sight as detail, having seen. Mostly. And the interview with the HD videod sex-offender is also an act of sight or seeing. Technologic reproduction acceptable alongside an "unedited" interview which replaces the ostensible "life" that these drawing contain? The computer reproduces without seeing, the obvious fear of someone striving to assimilate a machine without actually being it."


Read full: Karl Haendel at Susanne Vielmetter

Jasmin Werner at Kunstverein Braunschweig

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Conveyance. Ascension. Production, factory movement. The treadmill of life. The most addicting games create a continuous feeling of accelerating acquisition, slow steady rates of increase, of moving up in the world, and this little souvenirs of. Staircases like trophies to tomorrow.  The spiral staircase is just a hamster wheel over time.


Calla Henkel & Max Pitegoff at Cabinet, Nora Schultz at dépendance , Nora Schultz at Reena Spaulings, Grayson Revoir at Frankfurt am Main

Lena Henke at Bortolami

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The pig got transformed into a literal low polygon mesh, a chainmail frozen ghost, as a print that misrecalls its form, like a misremembering of its german history (that the PR attempts reanimation of). Ambiguousness as the sort of vague myths that float through history, echoing as subliminal ghosts. Attach words to the things the PR says: "tray-sized vulvic rose petals"
Ambiguousness as a means for the simultaneity of surrealism. A tree sort of looks like a horse so we can put them together; a cloud can look like anything, much like a turd, some will see interest.


See too: Nina Beier at Metro Pictures, Ron Nagle at Modern Art,