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

Past: Jorge Pardo

"What may be beleagueredly interesting about Pardo’s practice now - artists for decades attempt “meaning”’s destruction in an intellectual whack-a-mole - to consider here something inconsequential."

Full: Jorge Pardo at 1301PE

Wednesday, March 14, 2018

Past: Lili Reynaud-Dewar

"Tom Cruise dancing in underwear and socks in parents' vacated living room performed a magnificent version of freedom despite imprisonment by the script contractually obligating his "freedom" dancing "unwatched" in stark white briefs before an audience of - who really could have predicted then - hundreds of millions. This tension of contractually obligated freedom...."

Click here to read Lili Reynaud-Dewar at Clearing

Past: Will Benedict

"Thinking of Benedict like a gothicly depressed Baldessari is helpful."

Will Benedict at Gio Marconi, Will Benedict at Overduin & Co., Will Benedict at Bortolami

Tuesday, March 13, 2018

Ad Minoliti at Agustina Ferreyra


An argument had, can a triangle be a funny triangle?, formal objects able to emote subjectivity, or like Mondrian or af Klint a channeling of forces beside themselves. Can objects transacted through history or persons become grounds for conducting identities, become gendered. "How would an aphrodisiac painting look?"