Saturday, August 18, 2018

3 Shows, Julia Scher at DREI, Lin May Saeed at Studio Voltaire, Fernando Palma Rodriguez at House of Gaga




The security camera, early exemplar of the our proprioception lost to digital realms as your body could be distended in mirrors that could be sent through ethers, appearing before you, behind you, Magritte's Not to be Reproduced no longer surreal but our reality, walking into department stores. On facebook you reach out to poke, instagram click to like, your body a ghost appearing in other's mirrors. You appear everywhere. Like deafferented monkeys in lab experiments we lose control of limbs at the researcher doing studies on our psyche attempting to maximize engagement, a word which now means clicks, their hands in our gloves. Animals living with open brains.

Animals in environments degraded by plastics, EPS, Styrofoam. We with some idea rolling around in our heads about how long these foams last, largely abstract, largely uncertain, a million or a mere ten thousand years, the foam will persist longer than paintings. In the presence of light it very quickly experiences photodegradation breaking down into a powdery substance that will chemically persist in the lungs and bloodstream of animals moving up the food chain. A fragile body, naive, that requires our protection. Sculptures which if improperly cared for become time bombs of their environmental toxicity, careful with them, leaching chemical into the fish they depict carefully, a preciousness we must protect.

The deranged mechanicals. Robots acting stupidly, uncaringly. A world we've designed as such. See the video here. Motors are dangerous, they are inhuman, lose track of where your body is, get your hand caught, its inability to discern the softness of flesh air you experience a rapid what is called degloving.
Past: Lin May Saeed at Jacky Strenz

"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss"

Full: Lin May Saeed at Jacky Strenz

AR: Juliette Blightman at Fine Arts, Sydney

Artist: Juliette Blightman
Venue: Fine Arts, Sydney
Originally Posted: January 11th, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Friday, August 17, 2018

Group Show at Witte de With


It was nice of them to include not one but two photos of the 3D glasses. A hook to hang your FOMO around, proving the virtuality of your experience with glasses you cannot don. Most art experience is at least vaguely similar to IRL, visual snapshots taken by meat cams. But taking a photo of the thing you could have physically grasped exposed the glass between you and its object. And doubly strange since the glasses should allow for the virtual experience you also can't touch, en abyme our relation to images falls further and further into abyss of distended frames mirroring.

Wednesday, August 15, 2018

Andrea Bowers at Capitain Petzel


Surely the protest sign is a means of a populace's ability to steal back the language of advertising for its own self generally subaltern to the messages that those in power have the ability to broadcast at volumes stuporous. No one likes advertising, the brusqueness of messages to amplify through clipping of thought, but the protest sign attempts to recoup a voice that has been disenfranchised by a powerful who can drone it out with turn a monied knob. The protest sign requires streets and people to amplify. When it already has all the coronating volume of white walls and press packets and being sold in a blue chip gallery as a commodity it may no longer be protest sign.

 Peter Fend at Embajada
Past: Pilvi Takala at Centre for Contemporary Arts

"...children given fantastical power faced with the continually dwindling possibilities of real. A child's unfathomable wealth, 7000£, quickly grinding down, halting the committee at the realization of its limits: One child equates the once impossible amount to a mere 7 iPhones. The fantastic cannot be realized.  It's not enough for everyone. Unfazed several children move quickly through history proposing different schemes to generate profits with websites and business models (already envisioning themselves receiving discounts on fees) to sustain their wants, and the whole thing moving from open possibility to well-trod territory with a patterned timing. Watching the death of the possible in people so young raises questions of whether this is simply precocious social replication of the status quo, or whether capitalism is just natural to us..."

click: Pilvi Takala at Centre for Contemporary Arts

AR: Amy Lien and Enzo Camacho at 47 Canal

Artist: Amy Lien and Enzo Camacho
Venue: 47 Canal, New York
Originally Posted: February 2nd, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.