Wednesday, August 31, 2016

AR: Lucie Stahl at Halle Für Kunst Lüneburg

Pueblo, 2016 Inkjet print, aluminium, epoxy resin, 167 x 120 cm
Originally Posted: August 5th, 2016
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.

Tuesday, August 30, 2016

Amy Lien, Enzo Camacho at various locations

Amy Lien, Enzo Camacho at various locationsAmy Lien, Enzo Camacho at various locations


(link)

Our bodily tumult like serial killer sprees in some hallowed halls, the offices of Texte Zur Kunst, Buchholz, Mathew, Lars Friedrich’s apartment - our representation fractured in the need to stash our bodies everywhere in art franchised, split spread divide and reconnect - of course we become like monsters tentacling and "suck[ing] unborn fetuses out of pregnant women" to maintain our youthful semio-capital.


See too: Amy Lien & Enzo Camacho at 47 Canal

Sunday, August 28, 2016

“Take This Gun And Stick It” at Ellis King

Metaphysical Scarf Experience (Hanna Törnudd)
(link)

A press release staging the objects in the doorway of the libidinal. Oft stated: Art is an object determined and structured by our relationship to desire, an object created of what we want to see exist in the world and even the staggering repression of desire by someone like say Christopher Williams becomes instead paraphilia rejection of bodily pleasure, instead expressing bodily shame, instead only the over-clean pleasure of what the product affords, a fetishistic antipodal relation to desire, and thus sick, circling all our hairy wet need. But so less oft said is our current and growing vogue for the micro-attention to the formal aspects of art begins to further and further be capable of discussion in terms of sexual fetish, desire is rerouted into inanimate objects, feet latex or the suspended touch leaving them blue balled and in agony.


See too: FetishPhillip Lai at Modern ArtChadwick Rantanen at Essex StreetOlga Balema at Croy Nielsen

Saturday, August 27, 2016

Ruby Neri at David Kordansky

Ruby Neri at David Kordansky
(link)

"Fertility goddesses for the contemporary imagination;" the objects are a "fun" ironizing of femininity's tropes, of the goddess, a winking jest mocking the less progressive constructions of "woman" with comic timing while still being shackled to it. Whether we've moved past patriarchally constructed versions of woman (we haven't) we still get to feel some small relief of casting here the equivalent of a semiotic hex against it, which while cathartic still shows how brutally insistent those images are. The women branded 2016 to mark this moment. 

AR: J. Parker Valentine at Park View

J. Parker Valentine at Park View
Originally Posted: February 26th, 2016
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 26, 2016

John Kelsey at Daniel Buchholz

John Kelsey at Galerie Buchholz
John Kelsey at Galerie Buchholz
(link)

The behatted Kelsey's John Marinesque Watercolors prove Kelsey doesn't have anything to prove after decades romancing the artworld and sailing the echelons of cool across gallerist, artist, writer, fashionista etc. etc, finally expelling the exhaust of hyper aspiration where, like the mythic painted-in-secret still-life paintings of Clement Greenberg, the critic expended relaxes into the comfort of Sunday painting. The cash-in could be eyerolling but the watercolors are endearing in the attention to the body exhausting itself, fights are exhausting, which you can't but think now too of Kelsey - pretty much on his own death-bed of cool - reflecting his own exhaustion and while the legs arms often turn to overcooked elbow noodles, the determination to capture the body is present; the whale stuff, while coy, is shit.

Thursday, August 25, 2016

Bernadette Corporation at Stedelijk Museum

Bernadette Corporation at Stedelijk Museum
(link)

You'll have zero idea what's going on here if you don't already know the projects, though you can make a guess. BC's absorption of fashion-means (not necessarily the clothes as McGuffin that they are) can't really be under-stressed. Launching a hundred like-minded careers since, BC weren't the first of the fashion-orient but their understanding its "based on mythmaking and seduction" opened the eyes of today's Genzkenites to the aura preceding their deluge of material whateverness. Brand was the powerforce of the artist, and confusion, misalignment and just stuff could dissolve objects to the narrative-sans-critque, seen performed in the phenoms of today everyone from Arakawa and Bratsch to half the surround-audience gen and trickling into some of the post-krebberites' conceptual horsing. Much of BC's project was pointed despite its intended then dispersion that now in exhibition looks like the miasma of the younger's extraction of it.


See too: Stewart Uoo at 47 CanalKAYA at Deborah Schamoni

AR: Jana Euler at Portikus

Jana Euler at Portikus
Originally Posted: January 20th, 2016
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.

Wednesday, August 24, 2016

Lutz Bacher at Daniel Buchholz

Lutz Bacher at Daniel Buchholz
(link)

Some days spent in bed wondering: Does CAD love anyone more than Lutz Bacher? answered by the appearance of another before us. Gotta Catch 'em all Quarterly. If Bacher's theme of the erosion of the monument-as-sign's ability to mean isn't still apparent, the spamming of its images should make it: The semantic satiation of saying it again and again mirroring Bacher's interest in the loss, in the meaning photocopied to death. Like Gonzalez-Torres - who CAD also obviously feels some large affinity towards - significance is in the continual depletion and refill of an ability to appear -significant or loved - in the face of another, an artistic problem if there ever was one.


See too: Lutz Bacher at 356 MissionLutz Bacher at Statens Museum for KunstLutz Bacher at Daniel BuchlozLutz Bacher at Daniel BuchholzContemporary Art Quarterly 2On Kawara at the Guggenheim

Tuesday, August 23, 2016

Rochelle Feinstein at Francesca Pia

Rochelle Feinstein at Francesca Pia

None of it quite makes sense, adds up, and that's the circumnambular point in a convolution of forms circleing to elide easy critical attacks. The fun is watching the boxer dance around the grab while you get punched in the head.

AR: Willem de Rooij at Le Consortium

Willem de Rooij at Le Consortium
Originally Posted: September 23rd, 2015
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.

Monday, August 22, 2016

Phung-Tien Phan at Bonner Kunstverein

Phung-Tien Phan at Bonner Kunstverein
(link)

The art meme of placing a thing on another thing. Foregrounding the ghost who've arranged the space, the artist's hand, both magnifying their leave while highlighting the staging of the encounter. Like Broodthaer's potted palms casting the scene in its artifice, it makes the ghosts come out, those who constructed its object for you, tombs where flowers have been left.


See too: Ulla von Brandenberg at Pilar Corrias

AR: Lin May Saeed at Jacky Strenz

Lin May Saeed at Jacky Strenz
Originally Posted: April 4th, 2016
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.

Sunday, August 21, 2016

AR: Maria Eichhorn at Chisenhale

Maria Eichhorn, 5 weeks, 25 days, 175 hours (2016), Installation view, Chisenhale Gallery, 2016. 
Originally Posted: May 30th, 2016
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.

Saturday, August 20, 2016

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Paola Pivi at Dallas Contemporary

Paola Pivi at Dallas Contemporary
(link)

"These gestures are about freedom." A Childlike freedom attaining adult power, a cartoon friendliness abstracting its happy bludgeon of reality. The world to putty to whatever libidinal desire or dreams, placing Zebras dying in the Arctic. It seemed fun. An absurdism that borders on the psychotic, like Burden's childlike megalomania masquerading as glee, fun hides its stupid destruction of reality in which, above all, our dreams must be manifest.


See too: Paola Pivi at Emmanuel PerrotinChris Burden Metropolis II at LACMAHenning Bohl at What PipelineSadie Benning at Mary Boone & Callicoon Fine Arts

AR: Lili Reynaud-Dewar at Clearing

Lili Reynaud-Dewar at Clearing
Originally Posted: March 7th, 2016
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.

Thursday, August 18, 2016

Shana Moulton at Kunsthaus Glarus

Shana Moulton at Kunsthaus Glarus
(link)

Moulton's humor in our contradictions, our desperation in searching for spiritual value in commodic life, or authenticity, or comfort, or "magic" technologies all being juxtaposed with the day's small tragedy of turning over a can of beans to read its ingredients (to attempt to glean some control over our world, some mastery where we have none, there no mastery) is amphetaminically reminiscent of Cindy Sherman's endless mockery of her subject's desire to appear, to express itself in any sort of meaningful way, bullying our desire for comfort in recognition itself, to individualize with video effect, a root desire for anything other than this life, somberly kicking us when we're down with a medical donut strapped to our ass, you so desperately want these to be funny but no one has ever made anything sadder than these post-semio-industrially kafkaesque videos, like watching Gregor Samsa transmute to Mr. Bean and die, alone, gasping for air with the precision of a comic, Moulton.


See too: Jordan Wolfson at David Zwirner

AR: K.r.m. Mooney at Pied-á-terre

K.r.m. Mooney, Near Passerine, 2015 Glass, spray and foxtail millet, cuttlebone, binding wire, fluorocarbon leader,  silver plated steel, aluminum, cast lavender  13.75 x 5.25 x 8.25 inches
Originally Posted: November 26th, 2015
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.

Wednesday, August 17, 2016

Shio Kusaka at Blum & Poe

Shio Kusaka at Blum & Poe
(link)

Epicurean pottery, pleasure in the temperate, reserved handling of sensitivities implying a virtuous stake in its bright pleasure, internally luminous to mirror the porcelain souls of consumers who desire them - inordinate number of writing insinuating how much you are going to "want one" and they do after all make a point to confuse commodity, aesthetic and functional forms, defiantly vessels, or toys - anti-decadence assigning morality to their commodity which itself became a massive trend post 2008 recession, austerity itself becoming a thing to sell.


See too: Juha Pekka Matias Laakkonen at Corvi-Mora

AR: Henning Bohl at What Pipeline

Henning Bohl at What Pipeline
Originally Posted: December 11th, 2015
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.

Tuesday, August 16, 2016

Michaela Eichwald at Silberkuppe

Michaela Eichwald at Silberkuppe
(link)

Eichwald's ability to make true atrociousness platable, fecal umbers into gastro-figuratives of the stomach churning they induce. Their recuperation of contradictory elements. Not reducible to series of gestures, not looking effortless while still holding onto their improbable coolness, a defining feature against the contemporary sea of gentle abstraction, rendered figuration and Krebberian Spinoff of everyone positioning their paintings look as though off the cuff delivered as god's conceptual ornaments; Eichwald's higherpowers far more immanent, even personal, pained efforts that even if postured still posturing a decidedly uncool thing to affect the trope of painters struggle in 2016. Making pretty paintings in no way tasteful.

Monday, August 15, 2016

AR: DAS INSTITUT at Serpentine Gallery

Ritual Shaft, DAS INSTITUT / Am Sonntag Slides Projection, DAS INSTITUT with Kathrin Sonntag COMCORRÖDER Breast Neon Lights, Adele Röder Image © Uli Holz
Originally Posted: May 17th, 2016
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.

Fredrik Værslev at Bergen Kunsthall

Fredrik Værslev at Bergen Kunsthall
(link)

Continuously amazing, Josh Smith's ability to produce a tasteful painting today. And Værslev too an incommensurate tastifying of painting identities smoothed and well worn into comfort: the softness of acid-washed history, whose untreated denim is stiff, abrasive, and has edges that Værslev happily washes away, with the already pre-distressed historical material. Gerberian friend support is made as a kind of joke, of painting "off-the-shelf," readymade and there's a story Værslev tells in interviews, of the shelf origin in which in his final moments at the Städelschule, and tormented years since his last paintings -"for three years and a half I did not paint, not a single drop of paint" - and encouraged heavily by professor de Rooij, he makes a painting to his (Værslev's) mother's specifications: useful and pink with a shelf for her flowers to prevent stereo ruination and does so, paints the pink shelf with the flowers, and this success deemed by professor student and ostensibly mother seems an apt in describing its continuation today meeting demand for a market, giving the people what they want, a comfort.


See too: Fredrik Vaerslev at Centre d’Art Contemporain Passerelle

Sunday, August 14, 2016

Past: Vittorio Brodmann

"By turning the painting into an accumulation of "Brodmann moments", in a sort cave-painting/graffito mode, Brodmann compositionalizes his semio-capital, transmuting it into information, into a field of redirects failing to place it anywhere, turning it into painting as sort of recursive field, allowing to renege on the artist task of "be Brodmann" while being Brodmann."

Past: Vittorio Brodmann at Halle Für Kunst LüneburgVittorio Brodmann at Freedman FitzpatrickVittorio Brodmann at Gregor Staiger

Saturday, August 13, 2016

AR: Peter Fischli and David Weiss at Guggenheim

Originally Posted: April 29th, 2016
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.

Past: Ian Rosen

"Rosen is to art what golf is to sport. Removing its physical aspects to magnify its mental stressors and fine muscle finesse of putting the ball in its proper hole with the least sweat. A methodical game for Rosen's name sunk in the proper places of art's social field."
"Presciently, Bruce Hainley understood early, eerily, the limitations of interest in Rosen’s work in a review based on a sole photograph in a single show when the artist was still working in physical space. Hainley muses on discerning between acts of “grooming” from “genuine distress,” reaching out for “contact,” the review reads as sage advice/stern warning to the young artist more than addressing Artforum readers. A game of gathering artworld credibility, that Hainley acknowledged his complicity with, in which you are a pawn with one distinct choice, of saying yes or no, but after that the moves are all already preloaded into Rosen’s game."

Past: Ian Rosen at The FinleyIan Rosen at Kristina Kite

Friday, August 12, 2016

AR: Stan Douglas at Wiels

Stan Douglas at Wiels
Originally Posted: January 9th, 2016
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.


AR: Ceal Floyer at Aargauer Kunsthaus

Ceal Floyer at Aargauer Kunsthaus
(link)

The aesthetics of small cleverness - the set-up, tension and click of conclusion- and its bathetic pull, "this interplay of expectation and disappointment." Floyer's work has always felt like mocking tragedies, less fun than sinisterly aware of their exchange of the broken sad comedy of puns as like existentially it, this small disappointment threatening to replace understanding with "getting it," our world as a series of painfully dumb effects.

Thursday, August 11, 2016

Sharon Lockhart at Arts Club of Chicago & Antek Walczak at Real Fine Arts

Sharon Lockhart at Arts Club of Chicago
(Sharon LockhartAntek Walczak)

Promotional stills standing-in for documentation in attempts to reprioritize viewership away from the digitally documentary to rechristen once again the in-person experience mostly just ends with everyone knowing the happening of an exhibition without ability to say anything about it, but we know it's there: its promotion has functioned while denying our ability to respond in a meaningful way, as advertising does, and even the well documented denies authority of commentary despite documentation's inordinate importance in today's tradeshow of art, a system catalyzing a sort of sublingual register and meme-like spread of tendencies across art absorbed in the free-flow hydrant of image feeds that still so willingly distribute them and we willingly participate and of which we can't speak formally but to which we are all incarcarated, knowing you-know-who did you-know-what at you-know-where, the takeover of information taking hostage any response.*

*In conversation with a famous architect while together painting his roof, asked if architectural criticism made prerequisite the in-person experience of the buildings they reviewed, the architect said no, but it was contentious, but that buildings were almost always reviewed by plans, images and renderings, that this was inherent to the nature of architecture whose plans  projections bore oversize importance, that this was the nature of the beast, staring into silver paint in heat.

Tuesday, August 9, 2016

Phillip Lai at Modern Art

Phillip Lai at Modern Art
(link)

What Romance! The expressionist stroke absorbed into sculptural gesture, a sensitivity so heightened they feel stunted by their own fetish of sense. The remnants, records and romance of the hand, the touch. The fetishistic attention to details which remind us of all the sexual deviant's interest in attachments, space, and knots, the fetishist knowns the beauty of his knot is bearer of his love, the pleasure in pained restraint.


AR: Nancy Lupo at Swiss Institute


Click here to read
Originally Posted: April 19th, 2016
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.

Monday, August 8, 2016

Yngve Holen at Kunsthalle Basel



(link)

Remember Object Oriented Ontology, remember Speculative Realism's use as illustration of art vogues. Boy that was a mistake. The terrible emptiness of objects, an indifference that hurts, and in Holen and other's objects we begin to see boogeyman 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 small talk of art writing. Artists' recent turn towards this mystic auto-anthropology would perhaps be better suited to more rigorous dissertations of objects affectual torture of us that Holen and other's more symbolic moments seem primed to leech out of all-too-ready curators, but it is true that our objects haunt us.


See too: “Being Thing” at Centre International d’Arte et du Paysage & Treignac ProjetYngve Holen at Modern ArtMark Leckey at Haus Der Kunst + Kunsthalle BaselDarren Bader at Andrew KrepsKlara Lidén, Alicia Frankovich at KuratorPark McArthur at ChisenhaleSam Lewitt at Kunsthalle Basel

AR: Martin Wong at P.P.O.W

Click here to read
Originally Posted: February 4th, 2016
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.

Sunday, August 7, 2016

Matt Keegan, Kay Rosen at Grazer Kunstverein

Matt Keegan, Kay Rosen at Grazer Kunstverein
(link)

Language at architectural scales, symbolizing words' own arrangement of the floorplan of your thoughts. The infectious insertion of a stranger's speech into yours: when I write "lake" the word appears in you, my voice for yours. Reading is like relinquishing control of thought to an author's temporary marionetting of yours. How odd that my words are a voice in your head. Reading is such an automatic mechanism. It is a base human disposition to "read" our environment, to make sense of our surroundings, and advertising takes advantage of this: a byline appears and before you can stop yourself you have read it, allowed it briefly to control you and its message has been passed, its transaction has been complete, and its sign depleted lifeless garbage. Artists soften this verbose assault by clipping meaning, leaving it to never complete a logic but hover incomplete and

Saturday, August 6, 2016

Lucie Stahl at Halle Für Kunst Lüneburg

Installation view "Spirit" by Lucie Stahl, Halle für Kunst Lüneburg
(link)

We haven't had a CAD Stahl solo since 2014. Which whose then, despite their slight derivitives, 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. Somehow better than the cold tricks of Guyton/Walker because Stahl's was falsely warm. But that latent sadness present in this ex was sort always so.

Friday, August 5, 2016

AR: Sturtevant at Air de Paris

Sturtevant at Air de Paris
Originally Posted: Sunday, July 10, 2016
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.

Alex Hubbard at House of Gaga

Alex Hubbard at House of Gaga
(link)

The move from perspectively delirious videos recording their own production - a sort of Genzkenian prolepsis of claiming the production the product - and acclaimed then before into the recent and ongoing big wet&sticky Jolly-Ranchers whose vestigial remains of the viewpointally ambiguous videos is their most interesting, albeit liminally, part; that Hubbard continues regressing into now actual figurative representations of the ambiguity and masking a drinking problem (there's a bar behind the paintings!) thematizing the boozie distress of authorship, the eyerolling tragedy of those painters drunk to death, and perhaps signals Hubbard has staged his own intervention and we can move soberly on.


See too: KAYA at Deborah SchamoniIsa Genzken at David ZwirnerIsa Genzken at Institute of Contemporary Art

Thursday, August 4, 2016

Sam Lewitt, Lucy Raven at Pilar Corrias

Sam Lewitt
(link)

Clean the place out. Strip the lights. Burn the light to turn up the heat. Set the lights to "Siren." Representations of our current boring dystopia, both artists reaffirming the callous concrete conditions of the world, its artificialness and austerity, a coldness we begin to find somehow pleasing, enjoying our pleasure denied by assertions of power, warmth in the current that designates our capitalist life, comfort in our mastery by others as we acclimate and absorb the cold conditions of our world, artists thinking in the master's voice.


See too: Sam Lewitt at Kunsthalle BaselSam Lewitt at Miguel AbreuJohn Knight at Greene Naftali
"the curve of inside into out, curving exterior into insides, an expression of explicit vulnerability distinct to the anthropomorphic... a faint pubescence of gender, objects just arriving at a split, a fork budding semblance of female or male possibility, blushing blues and corpulent pinks."

Past: Martín Soto Climent at Proyectos MonclovaMartín Soto Climent at DREI

AR: William Pope.L at Steve Turner

Pope.L, Desert, Installation view, Steve Turner, October 2015 Courtesy of the artist and Steve Turner, Los Angeles (© Pope.L) Photo credit: Don Lewis
Originally Posted: December 2nd, 2015
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.

Wednesday, August 3, 2016

AR: Gina Beavers at Michael Benevento

Gina Beavers at Michael Benevento
Originally Posted: December 31st, 2015
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.

Brian Griffiths at Vilma Gold

Brian Griffiths at Vilma Gold
(link)

What had been Griffiths' tents, drapery and sealed wardrobes - alongside the occasionally recurring oversized head - before now's architectural models and fascination with Bill Murray's surface - yeah that's all Bill Murray there* - is still the obviously recurring theme of the exterior as phantasmagoria: blank surfaces for projection and the psychic cruel comedy of visage as facade. The use of architecture as representing psychic space has become a major motif in art, but whereas it had been usually literary or filmic to as physical metaphors for memory or dreams or whatever, art's use has recently become much more concerned with its meaty resemblance to a head, reminiscent of Deleuze pointing out that Francis Bacon didn't so much paint portraits but instead heads, the meat structure normally eclipsed by our concern with face. But so, concerning Bill Murray, has there ever been a celebrity whom people have been willing to wear on a t-shirt a giant image of their head? They're incredibly popular, yet a Brad Pitt head t-shirt seems unconscionable. We love the facade of Murray, his likeness, his surface, we treat him like a walking public architecture, a horrifying way to die.

*well not that guy, no. 



See too: Mathis Altmann at Halle für Kunst Lüneburg

Tuesday, August 2, 2016

Carl Cheng at Cherry and Martin

Carl Cheng at Cherry and Martin
(link)

Cherry and Martin on occasion producing well timed exhibitions interrupting the "new" moment with gentle reminders, past artists who too had delivered on certain aesthetics promises. E.g. their delivering a new Support/Surfaces exhibition to at a moment when gentle auto-painting of certain painter-painters was reaching peak. And from Thek to 1960's Robert Graham to Kudo to here Cheng before today's bio-waste terrariums of a list of at least 15 artists currently voguing, the anxiety of futurology's biotechnic surrealism is well represented. When young artists start to occlude the past it is of course a market effect producing outshone visibility and C+M - and perhaps Greenspon across the continent and bummeringly very few others - dogged insistence against the new shiny thing commendable.


See too: Ajay Kurian at Rowhouse ProjectMax Hooper Schneider at High ArtNancy Lupo at Swiss InstituteAmy Yao at Various Small Fires“Flat Neighbors” at Rachel UffnerHans-Christian Lotz at Christian Andersen,Yuji Agematsu at Artspeak“RR ZZ” at Gluck50Yuji Agematsu at Real Fine ArtsMathis Altmann at Freedman Fitzpatrick AltmannOlga Balema at Croy NielsenDavid Douard at Johan BerggrenNancy Lupo at WallspaceKatja Novitskova at Kunsthalle LissabonAnicka Yi at Kunsthalle BaselAnicka Yi at Cleveland Museum of Art, Transformer StationFlorian Germann at Gregor StaigerTimur Si-Qin at Carl KostyálBen Schumacher at Musee d’art contemporain de LyonAnna Uddenberg and Nicolas Ceccaldi at MEGA Foundation Pamela Rosenkranz at Karma International“Being Thing” at Centre International d’Arte et du Paysage & Treignac ProjetMichael E. Smith at Sculpture Center

Monday, August 1, 2016

Lutz Bacher at 356 Mission

Lutz Bacher at 356 Mission
(link)

In "Entropy and the new Monuments" Smithson's term "hyper-prosaism" for Morris, Flavin, LeWitt, and Judd described his artistic cohorts' inadequacy in the grand scales of time and entropy, the culturally catatonic monuments in human "progression." The bracing absurdity and nihilism of cosmic scales entering the personal ones, which Bacher recurringly recalls with invocations of cosmos xeroxed into the noise of their granular flooring, synecdoches of stellar scales spilled across expanses like baseballs or sprawls of sand. Mountains dissolve in grains that resemble liquids in geologic time. This recurring theme. The biblical "for dust you are and to dust you will return" is, as far as we know of entropy, scientifically accurate. Bacher never as deeply ironic or hurt as Smithson seemed by the crushing juxtaposition, the monuments themselves invoke already this loss.

Lutz Bacher at 356 Mission



See too: Lutz Bacher at Statens Museum for KunstOn Kawara at the GuggenheimLutz Bacher at Daniel Buchloz

AR: Carissa Rodriguez at Wattis

Carissa Rodriguez at Wattis
Originally Posted: February 2nd, 2016
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.

August Review 2016

August 1st, 2016

As the month begins, so does our eighth annual August Review. Every year we reflect on the exhibitions that were especially memorable to us since the previous August. We will re-publish one show each day, marked by “AR:” in the title. We will also continue to cover new exhibitions daily.