Monday, January 22, 2018

David Lieske at Lovaas Projects

Thomas Meinecke: Yes, and did you come to any results? 
David Lieske: Not really. In the end, this magazine embodies complete ambivalence altogether and, as it is, that’s enough for me. Even more so that’s what I find particularly interesting and admirable about it as the same is true for the art that I want to exhibit and that I am promoting – its greatest aim should be to generate the highest level of ambivalence. In the same sense I am unsure whether what I am proposing here as my exhibition could still be called art.

An ambivalence at the heart of much of art today displayed as presentations of objects left to the viewer with a "deal with it" coolness, figurative sunglasses donned. An ambivalence stemming from the pictures generation, authorship and authority questioned, and now artists - as stated previous - picking through semio-rubble and arranging it in quasi-mystical totems of the anthropologically alienated. Artists are like primitives to droppings of powerful Mass Culture, even its "special interest magazines," sifting through it with an almost reverence to its ability to "mean" in a way art likely never will, artists become in awe of Culture, develop intense interests in its niches, its ability to generate slight amounts of slack in its culturally tight bunghole through the ambiguity of its insertion, the insertion that art attempts to duplicate with its ambivalence, as if ambivalence itself opens new space, like one where maybe art doesn't have to mean.

See too: David Lieske at MUMOK
Past: Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry

"This destabilizing of our ability to conceptualize the objects in equitable terms to exchange with one another (eroding the semio-substrate with which our exchange is based) breaching a distrust, is its sinister quality."

"Bodily violence, its threat (a body to become goo as any other) is implicit to a work that treats materials as categorically promiscuous (surreal), e.g. if you can put Mario in the gallery sky or ocean's puffer fish under the table's summer sky, inflate them like footballs with whale ears, aren't you as wiling to place skulls at your knees. The disregard for the categorical order is like gore, crushing bodies."

Past: David Lieske at MUMOK

"Lieske was of the first of the cargo cults reassembling the totems of meaning in the desert of it, picking detritus. The issue was resolved not by necessarily by making objects mean again - which they couldn't - it's hard to make an empty bottle mean in arid land - but by situating objects so that they looked to mean, they connoted meaning despite whatever inscrutable blankness, hieroglyphs. What was important was exuding the affect of meaningful objects, regardless of whether there was any and that it didn't matter anyway was what we were all beginning to pick up on and what the commercial world had known for decades (that you can create "meaning" at will with attitude, aura) which while Lieske pondering whether this was a problem was suddenly flooded and drown by more ephebic artists already having decided for him it wasn't and now this is the water we live in, a flooded terrain of objects imbued, over-saturated "meaning." If so much art looks like Broodthaers today, it is because Broodthaers was of the first invested in the arrangements of display as a credence to meaning, institutional or otherwise."

Click: David Lieske at MUMOK

Thursday, January 18, 2018

Hannah Greely at Parker Gallery


"An ominous commingling of humor and horror intensifies the communication breakdown of pictorial space."  "Greely turns language into legible sculpture, allowing us to read physical form."

Today, icons become confused with symbols, amputating the leg from the cheetah-dane you cleave the wholeness of its object-thought. Like a three-legged pup cutely hobbling with the sympathy we feel at its misaligned strut, the sign itself, severed of wholeness, elicits sympathy for an inability to totally stand for its representation, like any good broken artifact whose fragment is all the more lovely for its symbol replaced with formalism, an impairment to the language it intends to mean: sculpture as a sort of lovely speech impediment, hearing a lisp for the words. We love a good three legged dog, and figurative representation can contain all the sculptural slurring as language, the dog limps on endearingly with its crusty cartoon gait all the better, love.

Wednesday, January 17, 2018

Miyoko Ito at BAMPFA


Paintings that look constructed, built like homes, making their abstraction like a plan for its composition. Ito's paintings are plain, direct, and confusing, a straightforward depiction belying its subterfuge. You unpack their construction like the pleasure of a model, or architectural funbook, same as of say Toma Abts, huge precursors to the puzzification and surreal ipad-iconists of today, the trend for paintings tangled icon of itself, abjuring the directness of recognition that design implies, instead designed for misrecognition.

"The pleasure of Abts’s paintings is that of origami, or well constructed puzzle, like setting a good corner in New Mexico pasture, the blankness of a Morandi, solving simply its own internal puzzling, like shaker furniture, a clever construction in a protestant like satisfaction of a few-frills job completed."

See too: Tomma Abts at David ZwirnerCharline von Heyl at Gisela CapitainEmily Mae Smith at Rodolphe Janssen, Ray Yoshida at David Nolan, Sascha Braunig at Kunsthall Stavanger, Alice Tippit at Night Club, Lui Shtini at Kate Werble, Sascha Braunig at Rodolphe Janssen, Sascha Braunig at Foxy Production, Mathew Cerletty at Office Baroque, Oscar Tuazon at Le Consortium & Paradise Garage

Tuesday, January 16, 2018

David Hartt at Graham Foundation


The potted plant in art. Was Broodthaers the first underlining the theatricality of its installation, the artificiality of its use as staging, the stage, decor of a gallery.  The potted plant can only ironize with temporality clashing against that of the gallery, a greenery that extends beyond it. I've been collecting art images with them for a while a now, its a trope, one of the few home decor choices regularly entering the space of art.

Monday, January 15, 2018

Past: R.H. Quaytman

"Miguel Abreu surrounds itself in a very distinct aura, it desires so strongly to be fictional literature, like a Borges labyrinth, where fiction is made to feel real, and the library the realest of all, from which entire worlds stem. Not even that Quaytman chapters her work, all the exhibitions feel like arcana and leaden magic where complexity's turgidity make it feel all the more real for its almost bureaucratic commitment to the fiction."

Read Full, click: R.H. Quaytman at Miguel Abreu