Thursday, June 29, 2017

Mai-Thu Perret at David Kordansky


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"Féminaire consists primarily of two bodies of work: [...] figurative sculptures positioned on a single plinth and a gridded wall arrangement of dozens of ceramic wall pieces"
"Immediate physicality is also a defining feature of the ceramic wall works [...]"
"Beginning with uniform rectangular slabs, Perret uses her hands to distort the material into torqued, unpredictable shapes [...] interaction between the artist’s body and the clay that absorbs her actions."

Against the delicate humans reposed, a visceral deforming of material. The body torqued, crushed with fingerprint remnant, a single hole. The figures have guns. Buy whichever, the holed or gunned, you wish, people watching sublimated wounds happen.


See too: Mark Prent at Mitchell AlgusMai-Thu Perret, Olivier Mosset at VnH

Wednesday, June 28, 2017

Marcelo Cipis at Spike


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The blurring of art and design produces an uncanny effect, seeing art airbrushed to a mannequin smoothness, an efficient body. Why isn’t all art this clear in desire, in its use. In design the auratic function is the product; the advert is the gears turning to produce the glow around it. Art is more of a dirty cloud that purports not to be, a ghost claiming it isn't.
Past: Pope.L

"but the joke dissipates abruptly and the punchline, lost, disperses the energy of its expectation to an audience as nervous flatness. This type of joke flips the roles, the performer now audience to their reaction, making the best of such jokes just complex enough to contain within the possibility of real punchline hidden and thus doubt, a heightened consciousness of where exactly it lay, the blankness of its meaning a projectable void that you can stand on many sides of..."


Click here for full William Pope.L at Steve Turner
Click here for full William Pope.L at Catherine Bastide

Tuesday, June 27, 2017

Pieter Schoolwerth at Miguel Abreu


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Every gallery has that painter, the stylistically performative running the permutations of their look. They’re fun, fine, you could do far worse than Schoolwerth and the PR which, turgid, aptly describes the loss of your viewer-self within, metaphor for the free floating body that everyone everywhere is at pains to describe but not touch. So we’ll say it here, it hurts to touch nothing. So when looking at the coldness and feeling the stylistic chrome they contain know it’s a real possibility.

Monday, June 26, 2017

Past: Nina Beier at David Roberts Art FoundationKunstverein HamburgCroy Nielsen

"20th century Surrealism couldn’t have predicted how surreal the 21st would actually become. Like the floor on view here, the new virtuality of surface makes Magritte’s paintings a reality, a drag and drop images into the real..."


Click here for Nina Beier at David Roberts Art Foundation
Click here for Nina Beier at Kunstverein Hamburg
Click here for Nina Beier at Croy Nielsen

Mark Prent at Mitchell Algus


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Rarely blatant horror, the genre relegated to SFX and haunted basements. Thek's meat, or Bellmer's arrangements, Nauman, McCarthy, even Bosch or all those paintings of saints' martyrdoms, aren't as expressly, grotesquely, violently, there. Texas Chainsaw Massacre frowny face. But artists love violence, what painter hasn't cleaved a face with brushstroke. It's there, implicit in so much art, proving the bloodlust buried. But theatricality is coming back, Max Hooper Schneider or Ajay Kurian, so violence admitted maybe with it too, our hematophagic libidos.



Violence: Nicola Tyson at Friedrich PetzelMichaël Borremans at Dallas Museum of ArtJordan Wolfson at David ZwirnerBerlinde de Bruyckere at Hauser & WirthAndro Wekua at Sprüth MagersMiriam Cahn at Meyer RieggerRobert Longo at Metro PicturesTomoo Gokita at Taka IshiiMichael E. Smith at Michael BeneventoSam Durant at Praz-Delavallade & VedoviErwin Wurm at Kunstmuseum WolfsburgAjay Kurian at White Flag Projects

Sunday, June 25, 2017

“Invisible Man” at Martos


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CAD has been bad for exhibitions like this which prize the Minimalist Friedian experience. The camera points at what should be foun, rendering the scavenger hunt null. It's instead pornographically there. The Invisible Man suddenly smeared across screens of America's resident body camera.

Darren Bader at Greenspon


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Bader's reduction of things to names, names converted to songs which share them, (Do you get it this makes them equitable in Bader's world) which songs all played at once orchestrate the cacophony of the world. The noise of things. Eyes delineate what ears cannot: if you converted the world to song, it would be just noise. How sad.  Like Creed's All the Bells, aesthetic considerations are subordinate to the rule of name, category: bells, all. Language becomes code allowing for slippage, treating things as their categories, there is no difference between burritos only the category, burrito, which makes the Kickstarter to help Darren Bader become Martin Creed doubly funny for both's categorical tomfoolery, under which two of the same thing can be one.


See too: Willem de Rooij at Arnolfini

Saturday, June 24, 2017

Past: Darren Bader at Kölnischer KunstvereinAndrew KrepsRadio Athènes

'If Bader seems to come out of a minimalism and conceptual legacy, it's that histories tension between objects specificity and their genericness, singular yet replaceable [...] and for Bader one burrito and all burritos are with the possibility of being the same. [...]  that you can never be sure if you are looking at a concept or an object."

"Sure its like “The Busy World of Richard Scary” for adults, but at least you don’t have to look at a room full of paintings again."


Click here for full Darren Bader at Radio Athènes,
Click here for full Darren Bader at Kölnischer Kunstverein
Click here for full Darren Bader at Andrew Kreps

Friday, June 23, 2017

Win McCarthy at Silberkuppe


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Mashing up some of the better artists of the last couple generations, pureed style, pulped assemblage and mulled into a new substance for casting your own likeness in.

Thursday, June 22, 2017

Karla Black at Museum Dhondt-Dhaenens


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Candy coat the thing you need to swallow.
Past: Jay Chung and Q Takeki Maeda at Francesca PiaJay Chung & Q Takeki Maeda at 356 Mission

"In the smoke of Matias Faldbakken's rocketship ascendancy the artworld was left blind scrambling to adhere a politic for it, to make a critical foundation for the artworld's hot new power iconography, unable to accept that how it looked, rather than any little content it contained, was its appeal."

"Issues of interest for Jay Chung and Q Takeki Maeda, artists for whom the making compositions of all but a few remains generated a enormous look of power."

Click here to read full Jay Chung and Q Takeki Maeda at Francesca Pia
Click here to read full Jay Chung & Q Takeki Maeda at 356 Mission
Past: Daniel Buren at Bortolami

"Of course Zobernig needs Buren as his hostage in order to remain in negotiations, and Buren's calm cool continuation despite it, still striping away, is sort of endearing if not insane."


Click here to read full Daniel Buren at Bortolami

Wednesday, June 21, 2017

Caleb Considine at Daniel Buchholz


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"This sense of content being astray has to do also with the process’ vying for significance."

Call the exhibition Clue. The puzzles of today's painting in which their individuated flat symbols present a real mystery of a subject. Looking like de Chirico designed a board game. Soviet Realism for the icon age, new devotional painting. Colonel Rublev in the museum with a candlestick.


Click these: Caleb Considine at Massimo de CarloJutta Koether at BortolamiJana Euler at Kunsthalle ZürichMathew Cerletty at Office BaroqueAnnette Kelm at Meyer KainerAnnette Kelm at Gio MarconiJesse Chapman at Algus GreensponKaspar Müller at Federico VavassoriJay Chung & Q Takeki Maeda at 356 MissionJesse Benson at Michael BeneventoVenice: Victor Man at The Central Pavilion,  Group Show at Mary MaryGina Litherland at Corbett vs. DempseyEmily Mae Smith at Rodolphe JanssenMilano Chow at Mary MaryLeidy Churchman at Koelnischer KunstvereinAllison Katz at Gio MarconiAdriana Lara at Algus Greenspon

Monday, June 19, 2017

Past: Jutta Koether at Bortolami

"Representation was always sort of beside itself, at least pointing elsewhere, but whereas for today’s puzzle painting exists as a kind of confounding delay of symbol's comprehension, Koether's over-saturation never  a puzzle, but a hyperlink version..."


“Iron Lady” at Isabella Bortolozzi


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New perfume advertising with adult actress Stoya. Adverts edgy, too much for public consumption, moved to backrooms, our art galleries, which with ease adopting advertorial space that our art increasingly resembles. The designers, the photographer get credit, Symonds, Pearmain, Lebon, actress none, the intellectual labor we prize, the body we don't. Well Stoya likely got paid, classic capital. You can pay women for their nudity and they can pay you to be clothed, adorned with your scent. Fashion as the fantasy of men imagining women, men dressing women with their fantasy, fashion. Symonds fashion influenced by bondage.


see too: Stewart Uoo at 47 Canal






Saturday, June 17, 2017

Hannah Black at MUMOK

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You may recall Black as penning the "urgent recommendation," destruction of Schutz's WhiBi painting, and subsequent firestorm of art-world hand wringing and giltedged-sanctioned rebuttals by figureheads such as Fusco and Rankine arguing the painting's worth as discussion catalyst seemingly not recognizing Black (and Bright's) request for painting bonfires seemed the real catalyst otherwise the art-world may have continued its merry silent way of soft congratulatory back patting and subsequent relief of white people self-affirming their feeling absolutely aghast at racism with a painting of it. 

In comparison to all that brute forcing a small frail show.

Friday, June 16, 2017

Cooper Jacoby at Freedman Fitzpatrick


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Apocalypse fabulous, death drive design for-your-home. Designer military, bio, and technologies. Fashionable. Heat sinks in beehives, or the pollinator wasps we'll use to replace them. Ham-handedry matters little with such sexiness; intentional: they're supposed to look like the high-end commodities that they are. An enviable press release reading like a lookbook for the rich's post-collapse homes. Our world's end, celebrate it with a commemorative lamp, luxury mirroring your wealth's participation in it.


See too: Cooper Jacoby at Staatliche Kunsthalle Baden-Baden
Past: Cooper Jacoby at Staatliche Kunsthalle Baden-Baden

"...recasting the bee houses as foreclosed slums, a critique predicting the ends of these best intentions as in the hive of Detroit, a production colony experiencing its own collapse, the ends of production utopias, if the art weren't so sexy too. Like Timur Si-Qin or any of the other techno-fabulists, critique of power often comes with the fetishization and deployment of it..."

Thursday, June 15, 2017

Past: Rachel Harrison at Kraupa-Tuskany Zeidler

"... structuring a grand palace on non-sequitur, have mutated, over-inflating into a cartoon version of a Harrison object itself..."


Robert Longo at Metro Pictures


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Everything of Longo's looks like a cock, looks like a giant rippling penis. Wet and brooding penises. Militarized dicks. Throbbing and stupid. Images of "power" drawn as massive black portenders. As "examinations of violence" they extrapolate out, reuse, clad their look in the same black garb of SWAT, to make you feel small. Mutate their humanitarian subjects into a threat with the Darth Vader aesthetic they purport to critique, Longo's assault drawings, men and their big scary black guns.

Tuesday, June 13, 2017

Steven Parrino at The Power Station


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The slick seductive surface of James Dean wrapping his vehicle around another thrown through glass, rolling across the pavement, the shiny waste of his wreckage, the waste of something beautiful. David Fincher. It’s cool to watch violence. Wet things across pavement. Entropic angst, saying no to dad and smoking indoors.  It feels anti-authoritarian to buy a leather jacket. It doesn’t matter that the jacket is pleather, it's that smoking indoors feels [fucking (ed.)] good.

Monday, June 12, 2017

Joyce Pensato at Friedrich Petzel


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 I mean a painting really needn't have that many drips. Pensato appears not so much flinging paint as some existential outpouring but against the dictum that one shouldn't fling it at all. [Even the most expressive of the expressionists was tempered by some masculinist higher order of capital P painting.] The outlandish resistant to the decorum expected of certain, uh, populations. Making them feminist, a big goofy face at your expectations of civility, protest.

"It’s the result of the schizo positioning of painting today, in which everyone wants a subjectivity expressed but no one wants human expression. The hysteric is the ability for the human to appear through the grate of order; social, relational, capital, or artistic."



See too: Joanne Greenbaum at Crone, Judith Bernstein at Studio VoltaireJudith Bernstein at Mary Boone

Friday, June 9, 2017

Sarah Lucas at CFA Berlin



Of which of course innuendo relies on social expectations. And so when you see a lumpy rocken form as a huge cock you are in part seeing its cultural conditioning that makes it so. The dirty mind sees the content of a culture that is present but subsurface. Some of the early "venuses" were barely human let alone women, yet we see the maternal. The lengths to which stretch it, how deep it runs. Man two spheres a tube, woman a bucket and curves.


See too: Lisa Yuskavage at Contemporary Art Museum St. Louis
Past: Mandla Reuter at Kunstverein Braunschweig

"A Fun house in which perception is amplified through ascetic rather than psychedelic terms..."



Click here to read full Mandla Reuter at Kunstverein Braunschweig

Thursday, June 8, 2017

Gijs Milius at Gaudel de Stampa




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Pee-pee and poo-poo, blood and guts, graft body and news healed as the scabs we like to pick. Touch them. Make the body appear, emergence through the grate, pulp laid to dry skins. It used to be that  Performance was the butcher display, but that apparently wasn't enough, we now produce it sheets, grow it in forms, spill it across rooms to prove its existence against the virtual that would upload it, material, goo, us.


Erwin Wurm at Kunstmuseum Wolfsburg,  Gijs Milius at Gaudel de Stampa“Mirror Effect” at The BoxRon Nagle at Modern ArtNancy Lupo at WallspaceMichael E. Smith at Zero

Wednesday, June 7, 2017

Stephan Dillemuth at Künstlerhaus KM–


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You won't get far before authority directs you to Dillemuth's website. Which:
"The abundance of content on his website and the density of his films testify [...] to the possible prevalence of means over ends; the viewer/browser can be left with the feeling of entering the centre of a never-ending task of organisation." You'll never quite get closer to it, no matter how much you peer at the subject.

It's important to note our assemblage getting cleaner, bodies too.

Tuesday, June 6, 2017

Lucy Skaer at MRAC


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What jewelry does to its wearer, Skaer does to sculpture, attachments which offset the object, accessorize your sculpture. A good piece of jewelry loads the subject with meaning. A pearl necklace over breast, a man with a tramp stamp fetish, a single gold stud in the nose. These things load their subject. A pin stripe on a car, a chrome bumper, a piece of jade set into marble, vajazzaling its nude surface.


See too: Lucy Skaer at Murray Guy


Past: Lucy Skaer at Murray Guy

"and pierced with navel’s jewel, making the nudity fill with meaning."

Monday, June 5, 2017

Joan Jonas at Gavin Brown


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Without a central theme like spine running down the diasporic artists work generally leaves them relegated to some periphery. We like our artists to be about something, always circling their core. It makes it easier to consume. It is an odd trait of humans that we like to know what we will see prior to seeing it, well documented in film trailers, foretold plots, and increased ticket sales. As much as we like our artists to be "independent spirits" we also want to know them, have them under control. Joan Jonas isn't really like that, people continuously wondering why she hasn't got her due.

Sunday, June 4, 2017

“2021” at Sydney


“2021” at Sydney

The decrepit and artifactual, pieces, there's something lovely forlorn about a single butt of trash like a rose. Good trash will bloom in the sun, wilt in the rain. We aspire to be like its emptiness, it vindicates our cities, we can see the whole world like a lens through the one discarded in the gutter. Trash reflects us, because we're better at deciphering ruins than cultures.


See too: Michael E. Smith at Sculpture CenterNancy Lupo at Kristina Kite & Yuji Agematsu at Miguel Abreu“May the Bridges I Burn Light the Way” at STANDARD (OSLO)

Saturday, June 3, 2017

Charline von Heyl at Capitain Petzel


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It was important that within the slurry of Post-war abstraction's melting of representation remained the church-like atmosphere from which western painting stemmed, devotional painting still. If von Heyl's is different it's because the paintings trade the devotional for the more transactional address of advertorial cymbal crashing, of images striking, with attack, no slurry but legibility, recognition, even if recognition is nonsense, abstraction, just that you see its information.


see too: Charline von Heyl at Gisela Capitain

Friday, June 2, 2017

Past: Charline von Heyl at Gisela Capitain

"like being struck, designed with the force of icons and logos, instantaneous recognition, the paintings connect with a speed prophetic of the contemporary and understandable that her rise delayed would coincide with that of digital networks: von Heyl's paintings turn composition into a kind of semio-transaction of consumption"

Thursday, June 1, 2017

Ann Craven at Southard Reid

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Suppose a sci-fi alternate history, post-war painting replaced with this. Ann Craven, Lily van der Stokker, Judith Bernstein, Nicola Tyson, cuteness of content, rather than flatness with swagger. Clementine Greenberg. Everyone really having said fuck the Bauhaus and everything was fluorescent and green. Not sure what difference can really be ascertained between Craven and Rothko really, besides the surrounding culture? What would have been the world then? Would Lisa Frank still be cool?
Past: Ann Craven at Confort Moderne

"Irony tempered by luxury fordist production. Surely if one cares to paint the moon this many times, one cares. The clock critiqued with an On Kawara style of deliberation: accumulation."