Wednesday, March 21, 2018

Oa4s at Lodos


The rising ubiquity of the lab, our alchemical noodling in povera forms, roleplay to deal with trauma of not having our own, expressions of our desire for productivity and vitality of scientist's real results, like children who feign adult, play house, to feel like they have one, the human impulse to invent magic, gods, to fill the coldness of their absence, to feel the glow of control, even in invented worlds, until the adults come in and strip the sheets off our nakedness.

Tuesday, March 20, 2018

Harald Szeemann at ICA LA


Obvious the all sorts of questions like what it means to recreate exhibitions. And all the weirder that the recreation through the simple ubiquity of its documentation and its outsize viewership now as to then, this, the recreation, will the remembered one. The stubborn block. We look through CAD, through its lens to the object. The document becomes the object seen.

Lucie Stahl at Cabinet


They hyper materiality of Stahl's earlier HiDef gurgitation is traded here - the resin soaked works which worked like soap's tighter attempts at control, sent physicality slipping from grasp, everywhere expelling digital gloss - a slipperiness that this exhibition finds in the cognition of pumping. The concern for wetness and Metaphor's sponge: pumping, like liquidity, milking rooms, the intravenous network of pipes, exchange, capital flow, financial meters, water tables, inelastic demand and liquid assets, dry powdered milk and barreled crude, black and white, gallons and barrels, flood plains and dry market: In 2012 a drought in New Zealand causes the worldwide prices of powdered milk and crude oil to diverge for the first time in a decade, this according to a website tracking such flows, the Progressive Dairyman. The point being the interconnection of flows that deliver also tether us, pipes become bars.

Past: Lucie Stahl at Halle Für Kunst Lüneburg

"Which whose then, despite their slight derivatives, in the specificity of their slick digi-crust-materialism and resolution-as-sex, we loved the scanner trash prints: what everyone else was at such pains to display with existential and overwrought, like, expression, Stahl had turned into cheap easy and fast slacker products that got closer to the existential dread of that material-reproduction by embodying all its cheap easy fast sexy disposability."

Sunday, March 18, 2018

Yngve Holen at Fine Arts, Sydney


Looking for the ghost in the machine we instead find the designer. We treat objects as if they are magic, acting like a cargo cult, arranging the droppings of the industrial gods like paganists worshipping more technically advanced nations. We place their refuse in our altars. A hole we are to be fed into in trash can colors absorbing into the urban landscape. Objects are designed to affect us, strangely adept at it, advertising like a massive psychologic program and objects are the sediment of it to deploy its energies. But despite every attempt to make technical medical objects sympathetic to us, they are unfortunately cold and this is difficult for us.

See too: Yngve Holen at Kunsthalle BaselYngve Holen at Modern ArtDavid Lieske at MUMOK
Past: Yngve Holen

"The terrible emptiness of objects, an indifference that hurts, and in Holen and other's objects we begin to see boogeymen that we assume must be there filling the cold object with anything but an emptiness. We exceed at inventing gods where there are none. What is behind it is only us. It is obvious at this point that objects we design are reflections of us, this is how the field of anthropology operates. We are designers or our world, of our water coolers cut in half in attempts to find its ghost where there is only us standing around it attempting the small talk of art writing."

Link: Yngve Holen

Friday, March 16, 2018

Vija Celmins at Matthew Marks


The promise of two ends meeting, of connection, of art's ability to represent; art's promise to conjure the thing itself. The stupidity of this promise.  The sorrow so present in Celmin's work is breakdown guilt of this, which all we are left with instead is brushwork, the skin of thing over an "armature on which I hang my marks and make my art."  The artists and the electrical torture of the sign.

See too: On Kawara at the GuggenheimLutz Bacher at 356 MissionJames Lee Byars at VeneKlasen/Werner