Thursday, November 23, 2017

Martin Puryear at Parasol unit


You've seen all these imaged a 100 times before but now tinged with today what had been its throwback vintages, traditionalism, seems now prescient of trends of biomorphic sculpture and its use of vague forms, distributed or unplaceable referents, the sort of innuendo formation of meaning, whats in your head may not lay in mine, contemporary even.

See too: Ron Nagle at Modern Art“Ungestalt” at Kunsthalle BaselNairy Baghramian at Marian GoodmanNairy Baghramian at Museo TamayoNancy Lupo at Swiss InstituteKlara Lidén, Alicia Frankovich at KuratorPark McArthur at ChisenhaleOlga Balema at Croy Nielsen

Wednesday, November 22, 2017

Olga Balema at High Art


In other words - images, unable to be tactile, an inability to make sensuality palpable irrupts strange fetishes: pornography must materialize its sensitivities by finding visual equivalents for touch. Textures which express similar reactions in viewers. You see it in taut inflated anime breasts, shiny PVC covered genitals, leather, sheers, frill, an entire wikipedia article about "breast physics." The ornate knots of bondage are totems to the practice. Art too in attempts to manifest materiality in what that cannot be touched must adopt hyperbolic visual equivalents. Bodies that photographs well.

See too: Olga Balema at High Art

Tuesday, November 21, 2017

Past: Simon Denny at MoMA PS1

"...This "struggle," coming to terms with such description, is mirrored in much of the writing about Denny's work in which writers desperately search to find where the critique - that of course must be there - lay."

Past: Simon Denny at MoMA PS1

Olga Balema at High Art


Like grubs mating, the touch of moist plastic, people with fetish for balloons rubbing: there's a materiality present in the touch of latex forms, of stuff touching. Rub the vinyl, feel the taut leather naked and plastic man. Our touch, now more than ever, comes from sight, comes from packages of it in the high definition of images and advertising, we feel through sight, like pornography learning new sensuousness through seeing it commodified as objects, sexy.

See too: Olga Balema at Croy Nielsen
Past: Olga Balema at Croy Nielsen

"over-inflated carcass of rotting whale PVC fetishists"

Olga Balema at Croy Nielsen

Monday, November 20, 2017

Jonas Mekas at Missoni Boutique


Should art be banned from markets. Must we continue our lip-service against, shrouding the commerce of art, attempts at closeting it, pretend our silence is pesticide against it instead of allowing it flourishing in darkness. Expose it to air. Why shouldn't art be traded publicly beyond the stores we call galleries. Let it sell at retail. It would take a legend we can't possibly hate to do so.

Sunday, November 19, 2017

“Gótico tropical” at Centre d’art Contemporain Passerelle

Popular De Lujo (Gonzalo Díaz, Arnulfo Herrada)

Google translated: "Populardelujo is an interminated, interminable, empirical and mutant project dedicated to ordinary Bogota. We are particularly interested in the popular graphic call, understood as all those images produced outside of the mainstream media and outside the circuit of advertising agencies, design studios and universities.

We believe that by reviewing this visual culture with affection, grace and respect we are recognizing not only the value of an underestimated aesthetic expression, but contributing to give greater visibility to people, communities, experiences and customs that have not had enough representation."

Friday, November 17, 2017

Sayre Gomez at Ghebaly Gallery


Painting the walls of your cage generally comes in less literal forms. The artist as tempestuous gorilla acquiescing to perform his own repairs on the prison of his cell, look how nice these bars I have erected are, how polished this fencing. When you could simply change the focus to what's outside. Instead some vague construction. The old predicament of art, to peel away the stickers marking the surface of cynicism: our Bad Boy Attitude. Elegiac Walls. All if this is obvious, it's right there, legible; the point is that it’s alluring. We want to keep them around.

Wednesday, November 15, 2017

They come three, four, at a time. Zebra hard to chase not because the stripes provide camouflage but because the predator cannot single a specific focus, i.e. with overabundant choice the selector's (predators) cognition malfunctions; you see lions, surrounded by cheeseburgers, acquiesce, lay down, stupefied by movement, flow, numbers which disrupt the ability for sense, sensation ruins, the surface effect which short circuits our ability for recognition, to choose, to see indivuality for a moving surfae of pattern and stripe across a broad plain of thing. Eventually the lions that do not starve in the face of such are selected for reproduction.
Past: Susan Cianciolo at Modern Art

"Knowledge is kept on rapidly acidifying papers, stored in databanks we anodize against oxidation in deep storage basements to feign permanence, our security. But the world slowly deteriorates, look into the issue of archiving, it's complex nuanced and impossible, it's baby blankets spilled on, barfed on, a biological archive cum Banker's boxes purchased by the gross. Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone"

click here for full: Susan Cianciolo at Modern Art

Monday, November 13, 2017

Carlos Almaraz at LACMA


“He was the depictor of that community and scene just as well as Monet or Renoir depicted their communities,” Marin says. Its true he got LA's acidic light right, the car "Crash in Phthalo Green" is barely brighter than the astringent sun, all the colors in Almaraz's paintings seems chalked by the sun, bleached to a sort of wasted otherness, just like LA.
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"

Click: Lin May Saeed at Jacky Strenz

Sunday, November 12, 2017

Sherrie Levine at David Zwirner


Images both are and aren't generic, even the most bland are still specific singular instances of a larger regime of similar images, like stock photography's multi-cultural workplace theme. Images become soft by their ubiquity, their dispersal, a continual re-staging erodes their specific edges to become some semi-solid substance of genericness. And any new instances are based on the patterns of the last one. Iconic photographs are often predicated on a tension of specificity given to a ubiquitous theme, a concerned mother, a puddle jump, a flag raising, each iconic image eventually returning to some blank marker of vague icon. Each remembrance is like an appropriation, a rephotographic theft of its specificity to soften it back to the soup of ubiquity, of theme, of trope, back to stock image.

See too: Sherrie Levine at Simon Lee
Past: Sherrie Levine at Simon Lee

"...a less cruel and more seductive version of Mosset monochromes, whose destruction of content made their opaqueness a violence, and more like commodity forms, whose reproduction was their content and total-allure of surface their meaning..."

click: Sherrie Levine at Simon Lee

Saturday, November 11, 2017

Daniel Dewar and Grégory Gicquel at Portikus


Totems hewn of old-timey techniques, preloading new content with the time travel of the ancients. It works, the objects and their symbols feel pulled from primeval wells, they affect - despite their modern gastrointestinal - the look of something deep rooted. When Hirst applies gilt to goat horns or barnacles to statues it appears as chintz patinas; DD&GC's abraded by the time's digestion by building techniques pulled through with it.  In 2017, we desire wood, representations of the natural, a connection to a time when we touched things with our hands and our stores name themselves after objects of such lost: Iron Oak Spade Copper Rooster mad lib titling. Wishing our objects to connect us with a mythic past when we weren't cognitively fritzed socially gamified cyborgs, even if it isn't true the affect is there to make us feel better.

See too: Daniel Dewar and Grégory Gicquel at Micheline Szwajcer

Friday, November 10, 2017

Past: Jessi Reaves at Bridget Donahue

"...a reminder that, like all that stolen Ikea elegance whose eventual blown out corners reveal its making of all but compressed trash, underneath everything we desire to be is an intestinal makeup of sponge replacing its weight with rumors of dead-skin and dust-mites of a body threatening to turn fungal even while its pubescent biology meets identity, becoming gendered but threatening death..."

Click: Jessi Reaves at Bridget Donahue

Thursday, November 9, 2017

Chadwick Rantanen at Secession


"For his sculptures, Rantanen extracted the protective layer from rolls of new fabric, peeling it off like a layer of skin" like hospital's common procedure on horribly disfigured patients is to shave off sections of intact flesh into luncheon-meat-like sheets then run though a press into a mesh to be grafted over raw violence, like wallpaper pasted for cheery buildings hiding this slaughter, skins of paper garbage caught with arrows like St. Sebastian trussed with nice bondage knots, plastic bags caught in razor wire fencing, our trauma over mass trash hung over industrial steel drain pans portending the dripping we don't see but Rantanen has us inferring looming, like the plastics entering our blood, another sort of sublimated torture chamber type of deal.

Past: Chadwick Rantanen at Essex Street, “May the Bridges I Burn Light the Way” at STANDARD (OSLO)Chadwick Rantanen at Team (bungalow)

"The director of fetish crush films Jeff Valencia speaks often of desiring to be the subject under the feet of the crusher, identifying with the object/animal being crushed."

Click for full: Chadwick Rantanen at Essex Street, “May the Bridges I Burn Light the Way” at STANDARD (OSLO), Chadwick Rantanen at Team (bungalow)

Wednesday, November 8, 2017

Josh Kline at Modern Art


Deploying the strategies of retail spaces, SFX, digital tech, political adverts, i.e. the corporate technologies that prove, with money, you can deform the world to your whim, mold plastic to your hand, replicant people in bags, get dream Obama to pass basic income. It's Magrittean dream-tech for the whatever you can buy sort. Now 3-D printing the apocalypse. Enemy or ally to its strategies, everyone wanted to Instagram Kline's militarized Teletubbies, proving them valid in an economy of attention, the high-production gloss of mass culture virtually demands it.

See too: Venice vs TriennialTimur Si-Qin at Carl Kostyál

Tuesday, November 7, 2017

Jesse Benson at Michael Benevento


Making sense of the world through difference, categorization, exclusion, separating objects under different labels to make language, names, we, when paintings "involving the painstaking brushstroke-for-brushstroke hand replication of painted images" "re-painted by Benson with at least one visual deviation from the original" "and subtle gallery space alterations," difference and repetition becoming a see through thin, the asymptotic approach to image, falling towards the ground it aims at and missing, closer, closer, closer, feel vertigo.

Past: Jesse Benson at Michael Benevento
Past: Jesse Benson at Michael Benevento

"The lack thereof (of expression), neutering subjective, the closer it can be to being without qualities, is its psychedelic quality. The paintings warble in closeness to a reality that they fail to produce.

Click: Jesse Benson at Michael Benevento

Monday, November 6, 2017

“On Half a Tank of Gas” at various locations in New Glarus, Wisconsin


I wonder how many people came, I wonder how many stayed. I wonder what the people thought. I wonder if they felt it was an enriching cultural experience, I wonder if they had fun. I wonder if they talked about it afterwards. Did they laugh and later drink wine. Were they disquieted. Was the art, distinctly coalesced for this "Little Switzerland" town, only able to communicate nuance with a cultural context, finding Mike Kelly & Paul McCarthy's adaption of Joanna Spyri's most renowned Swiss novel, Heidi, and finding interest in the adaption's latent violence with characters as puppets for violent marionetting as revealing something instrinsic to it. Is the US's absurd level of interest in personal heritage, roots, DNA home testing kits hitting 2.6 billion$ market in 2014, assigning themselves sister cities, and "where your family is from" a cocktail question, is this interest undone by the fact that most contemporary artists today have little cultural heritage, besides the "international style" of Art, that contemporary artist implies the jettisoning of tradition besides the giant global one we conform to.

See too: “Work Hard” at Swiss Institute

Sunday, November 5, 2017

Julia Feyrer at Potts


Celluloid is a glass projecting images, frames and films seen through, the screen need not necessarily be silver, images are already projected on all the substrate of our heads receiving them. We see ourselves reflected in an on, the world's contaminated surface, us, seen reflected.

Saturday, November 4, 2017

Keith Edmier at Friedrich Petzel


Traditionally sensitivity isn’t emblazoned in high production's hard materials. Sensitivity is softness, not the fine detail of edges, resins, supermodels. The supermodel is, generally, not a thing of sensitivity, but violent eruption for complicated affinities, like Edimer's own relationship to precious romanticism, exemplified in Hainley's pop quiz from hell "20 Questions on Keith Edmier and Farrah Fawcett" leaves a sweating testee over multiple-choice: objects not complicit with categorical determination but manifold intakes:

"2. The best adjective to describe the overall effect of Keith Edmier and Farrah Fawcett, 2000, is:

See too: James Lee Byars at VeneKlasen/WernerSusan Cianciolo at Modern Art

Thursday, November 2, 2017

Anne Neukamp at Greta Meert


Recognition is a visual strategy used by the advertorial (logo) or systems (icons) that has reached saturation with touchscreens, GUIs, facebook forums. Our brains, wired for recognition, are berated with this, icons forcing recognition of themselves. Painters begin adopting this as their history, the magrittean version of objects as linguistic symbols. They delay the force of recognition as a palliative, lessening the slap of apprehension by averting it.

see too: Amanda Ross-Ho at The PitCharline von Heyl at Capitain Petzel, Charline von Heyl at Gisela Capitain, Richard Aldrich at Gladstone Gallery, Jana Euler at Galerie Neu & PortikusNina Beier at David Roberts Art FoundationEmily Mae Smith at Rodolphe Janssen,

Wednesday, November 1, 2017

Elaine Cameron-Weir at Hannah Hoffman


Detail: Elaine Cameron-Weir, FOR MAKE ADMIT THIS VOIDE, 2017, Rubber jacket, leather, orthopedic jaw fixation hardware, stainless steel, amber

New Sex-assemblage - barnacling fetishes, totems, trends for the dental, bondage leather, medieval role-play. Accumulates objects operating sublingual, registers of the dog-whistle objects that affect all the tools of kink, advertisements, and Dwell, touch you in your feels, pseudo-witchcraft creating concoctions of objects emotional, touching us.

see too:  Camille Blatrix at WattisAjay Kurian at Rowhouse ProjectKatja Novitskova at Kunsthalle LissabonNairy Baghramian at Museo TamayoNairy Baghramian at Marian Goodman
Past: Merlin Carpenter

"Has a more vacuous flaccid and dead show ever been done? An exhibition so empty it's like looking at ocean’s abyss. Carpenter has always been capable of the self-flagellating gesture, but this, this is like selling your flesh to pay the guy who owns your soul for its postage to hell, and you’re walking around bleeding without a shirt. This show makes Zobernig look like an academic painter. Codax like he paints Sundays."

Click Merlin Carpenter at Reena Spaulings
Click Merlin Carpenter at MD 72
Click Merlin Carpenter at Overduin & Co.