Wednesday, April 25, 2018

Jay Chung & Q Takeki Maeda at House of Gaga


Artists continually forcing a reading between the lines they force distinctly apart so that the blank white space feels ominous and full, like a detective novel, figure it out, Jay Chung & Q Takeki Maeda adept at objects in aura of evidence or clues. Bits of knowledge that are brought up in the PR, starting with the failure of the cult to deliver its prophecies, its promised cataclysm falling to a gaping white nothing burger, a lot like the art's lines. Providing no auto-bloodshed or endorsement, instead a musing on the aquarium shark (and its connection to Hirst) as a symbol of contemporary art's "predicted avant-garde revolutions [that] never came to pass" and the "set of special texts, rituals, and institutions whose purpose is to manage the disparity between the prophecy and the reality of its non- appearance."  This is all uninteresting, another meditation of art's failed deliverance we've been rehashing for 20 years but now cults and sharks and texts. Except for the text accompanyment which is itself its little own hard-boiled plot that itself empties and fills like a corpse on the beach and you could attempt to use the detective's cultish tools to attempt post-mortem on the story's failure to deliver catacylsm or just think of it as "set of special texts, rituals, and institutions whose purpose is to manage the disparity between the prophecy and the reality of its non-appearance."

See too: Jay Chung and Q Takeki Maeda at Francesca Pia, Jay Chung & Q Takeki Maeda at 356 Mission
Past: Jay Chung and Q Takeki Maeda at Francesca Pia, Jay 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

Tuesday, April 24, 2018

Dadamaino at Mendes Wood DM


Looking back now you have to imagine life was, if not hell, at least a brutal minefield for women of the era who, free of a patriarchal home, were paroled to experience the full trauma of a world of men, those sexually "liberated" of the artworld excusing discomfort as "no major offense," the assaulters still allowed their sexual plumage to hang out openly in museums, forced to dodge big pendulous egos swung to wide berths, the male surety allowing the Greenberg-likes to steamroll the scene almost on machismo alone, to allow Judd to state as an entire thought about Anne Truitt in Art International: "She doesn't have a clear idea of what she is doing though," - that's it that's Judd's entire sentence - the defense of which is simply Judd was this much of a prick to everyone, and maybe Italy was kinder, less of the implicit patriarchal rules for gender so pervasive you still hear a generation occasionally defend as "natural," and within this then to somehow find some small elbowed room to make something soft.  Only to have echoing in your head Judd's castigation of Frankenthaler: "Frankenthaler's softness is fine but it would be more profound if it was also hard."

See too: Hannah Black at MUMOK

Monday, April 23, 2018

Past: Sarah Lucas

" The dirty mind sees the content of a culture that is present but subsurface. Some 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."

Click for full: Sarah Lucas at CFA Berlin

Past: Sylvie Fleury

“Fleury suggests art can be liberated from its reliance on constant innovation and complex physical formulation and relax instead into a sort of ne plus ultra of laissez faire “whateverism” which ups the ante on American “Slacker” culture’s aesthetics of resignation.”
-Adrian Dannatt

 Sylvie Fleury at Karma International

Eloise Hawser at Somerset House


Plumbing the depths, the correlation between waterways and our most technically advanced medical imaging, the ability to peer under surfaces and into our sewage systems you and me. The human body is indistinguishable from any sufficiently complex sewer. The metaphorical transpositional points are numerous, we're all just bodies of water with structural needs to remove waste through complex veinous systems, and the methods of mapping those bodies mirror each other somewhat as tubed networks. "This will be the first time phantoms, a crucial part of modern medical practice, will be shown in a creative setting" seems like an oddly specific Guinness World Record, but a preliminary search through Leckey's Universal Addressibility of Dumb Things and Kelley's Uncanny shows it maybe technically correct if beside the point in a long history or alternative figuration. The long symbiotic history of medical and artistic representations, artists interest in them. Why did Simone Ambrogio come back, what are these medical professionals really up to? The difference in interest may be instead of the representations is how the representations are made here, flaunting the medical science it remains at least somewhat disconcerted with, the new means of figuration, your body like a toilet.

See too: Quintessa Matranga at FreddyYngve Holen at Fine Arts, Sydney

Sunday, April 22, 2018

Past: J. Parker Valentine

"expectations of legibility depictive of some tip-of-the-tongue subject within a library of means detailing the amorphous thing it circles but fails to produce. There is the lure of subject object, the thing that will at any moment manifest itself in the definitive lines of drawing"

J. Parker Valentine at Juan and Patricia Vergez CollectionJ. Parker Valentine at Park View

Saturday, April 21, 2018

Autumn Ramsey at Crèvecoeur


The decorative embellishments adorning the subject like Christmas tree, a structure for the hanging of means, that while Moreau's wreaths of ornamental doodadery shimmer with objects and riches, Ramsey's warble with the various means of representing those objects, the paint itself.  Us again gathered around the yule pine's glow, decoration, at an object that has more or less lost its meaning to act the tradition itself, history painting glitz.
Past: Autumn Ramsey

"As painter of things, and cat butts sensuous..."

Click:  Autumn Ramsey at Park ViewAutumn Ramsey at Night Club

Friday, April 20, 2018

Fred Lonidier at Essex Street


"1984 Benjamin H.D. Buchloh wrote '[Lonidier's] work addresses the questions of the detrimental impact that we would not normally be confronted with as a museum or gallery visiting art audience, since the system of representation that we traditionally refer to as ‘the aesthetic’ by definition extracts itself from the economic and political reality of the basis of culture in everyday life, in order to construct the aesthetic mirage that generates pleasure due to its mysterious capacity to disembody and disassociate our perception from the weights and demands of the real.'"

A blinding piece of criticism. The circuses of the aesthetic. Lonidier mending or "fixing" conceptual art's rupture of language to make it say actually something rather than serve up that effervescent lightheadedness I associate with it and deep sea fish. Ron Cook is a bricklayer or craftsperson, which is true, and there is no need to bring Tom of Finland into this despite my desires. We should attempt to recalibrate our politics not to the high drama of spectacle, but to the begrudging daily wear. Let's not get entangled with Ron's glistening bulk, but rather in how we can ease Ron's burden, even the unattractive Rons. Its hard to pay attention to these less attractive details, but this is something art and its sensitivities should be training us for is the point I guess. 

Thursday, April 19, 2018

Ghislaine Leung at Reading International


"For [Chris] Burden the question of, “How did our world end up like this?” is posited as the product of thousands of megalomaniac children grown never learning their childhood fantasies of the world need not be enforced upon it. That the train barons and real estate developers creating the world may have less to do with money and more with the latent remains of childhood fevers." - Chris Burden Metropolis II at LACMA

That we learn in childhood to act as gods. We are given realms. Build castles to smash, bricks to heights, dolls to have our way with. The megalomaniacism of childhood is rewarded endlessly with no wonder why later we are left with it blooming all over our world.

"Increasing prevalence of the diorama, the miniature, their vessels staging us as onlookers to worlds as sandboxes. A dissonance between our interior worlds that of course we find increasingly virtual and beholden to our godlike control of drag/drop materiality conjuring our desires that the outer world increasingly doesn't reflect, the world steamrolled at the whim of other's control. So our turning to dolls and miniatures and virtuality makes symptomatic sense, fulfilling our need for control over a world we increasingly seem to not have much over makes psychologic sense. The world providing ever further customizable habitats to busy ourselves with while remaining deaf to our desires, a lot like playing with dolls."- “Sylvanian Families Biennial 2017” at XYZ collective

See too: Mathis Altmann at Freedman Fitzpatrick

Wednesday, April 18, 2018

Erika Verzutti at Misako & Rosen


Material excess, crust, small holes cut in flesh to place tiny stones. Little pimples to pop, nubbins,  to squeeze out excess, or pull an ingrown hair from under tender flesh. Feel bodily presence inside squares. Cut carrots in your belly button. Fill your ears with plastic beads, your salivary glands with pearls, your tear ducts with coral. Connect several puzzle pieces to feel that satisfying soft click. Fill your colon with concrete. Easily fit the average lightbulb's glass end into an open mouth to find it cannot come back out, the skeletal structure of your jaw is one way, leading to a series of horrible wet youtube videos. Remove the concrete to find a sculpture of your colon. How many apples do you think we could fit inside him? Surgically removed hangnails. Ingrown toenails. Rubbing mother's bunions. Rug burn so bad your uncle weeps. Reliquaries of saint's bones. Red swollen earlobes pinned to potatoes. Pizza face leaking. Red boogers wiped on pants. The entirety of childhoods perforations leaving a body like Spongebob. Pumice stones for exfoliant. Cartoon meat like cake. A pound of flesh removed without a drop of blood, just some sensitivity around the glands. I replaced my cheek with a smooth stone.
"Indeed, what the Pulitzer committee lauded him for was this precise ability to make something seen as highbrow, like art, seem less intimidating by his own buffoonery. They cite his “daring perspectives on visual art in America, encompassing the personal, the political, the pure and the profane” as reason for the award. But in a time when American politics has been profaned by the purely personal whims of one white man, the celebration of another doing the same in the arts raises some red flags for me."

see too: “Stories of Almost Everyone” at Hammer Museum

Tuesday, April 17, 2018

Past: Richard Aldrich

"Because surely there is actually a fool doing this full time."

Miriam Cahn at Meyer Riegger


Like heat maps for sensation, it could be unendurable cheese, e.g. "the red stands for love" but its  their tenuous walk over the chasm of schmaltz that feels like its relationship to horror - the body's ability to fall into a meat grinder or sentimentality, crushed like Precious Moments figurines. There's something so fragile about our ability to feel empathy, to feel tender. We're stupid creatures that are easy to break. The ability for Cahn to at any moment move firmly into the world of melodrama feels as much a threat as violence, she could destroy them with a heart emoji.

Monday, April 16, 2018

Robert Colescott at Blum & Poe


Brush work that drip sarcasm, almost wrinkling with disdain, irony and ire. White flesh is like a plastic coating, like a makeup applied. While the relations are never as ambiguous as Kara Walker's later inkblots; and history reconstruction sees Manet'a Olypmian servant reimagined as klimtian lovers or DeKooning's women as made to sell syrup rather than Kehinde Wiley's grandiose revisionism; and the threading of cultural forms a bit more bare than Kerry James Marshall kaleidoscopes, you can see their protostages here in Colescott's struggle to unite them, the contradictory modes, grandiosity, uncertainty, self-deprecation, anger, and pain.
Past: Miriam Cahn

"Cahn seems to care, even while suspending its pink people over the sandpaper caustics of abrasive color, one of very few painters to make painting's bright beauty a violent thing. Painting can do a real violence to balloons filled with red liquid. Rubbed of noses, devoid of hair, flesh the color of factory chicken. The manifold meanings of the adjective tender, "showing gentleness" as well as "sensitive to pain."  "(of meat) easy to cut."

Read full: Miriam Cahn at Jocelyn WolffMiriam Cahn at Meyer Riegger

Sunday, April 15, 2018

“Idiorrythmia” at CACBM

Remember the flag art everywhere like 10(?) years ago, Grey Flags, flags screened with bricks, reflective flags, Reena Spaulings' whole product line of them, their flags half stuffed in trash bags, everyone trying to neuter wide legged stances, neutralize country, symbology, remove meaning. It was what we were into then, our anti-aboutness stage. Trying to make the image itself dissolve, disappear, into the format, the object, so it's almost an internal joke now, but the ability to wrest one more rabbit out of the hat is the talent, a clear flag, we hadn't thought of that. `

Saturday, April 14, 2018

“HARSH ASTRAL: The Radiants 2” at Francesca Pia


A show about radioactivity because like the radiation itself its difficult to detect the energy that connects it, you need special tools to see it.

Friday, April 13, 2018

Arthur Jafa at Sant’Andrea de Scaphis


You only get to watch ten seconds of this but you still get feels its promotion. That advertisement creates a lack that can only be fulfilled through consumption it does not allow.

You can watch one whole minute of it here: “Elements of Vogue” at CA2M Centro de Arte Dos de Mayo

Thursday, April 12, 2018

Calvin Marcus at Clearing


Marcus paints like a kid, draws like a kid, had huge crayons made for his big kid self. It would be an interesting history correlated, the desublimation of painting, its id-ification, from the surrealist's subconcious, to Pollock's becoming "nature," to finally the triumph of neanderthalism of say Joe Bradley, the history of men's important doodle. The mythology of the infantilized artist. Expressions of nubility,.We must care for him, them, genius whose diapers we exchange

Wednesday, April 11, 2018

“Room Raiders” at Mathew


"On the show, three men or women have their rooms inspected, or "raided" by another single man or woman. At the end of the episode, the raider chooses to go on a date with one of them based on the contents of their rooms. The three contestants watch and comment, while sitting in a van, as their rooms are inspected. After the raider has finished with each of the rooms, the three contestants then raid the raider's room. Finally, the raider confronts the three contestants and makes his or her choice."

Which explains the interior design lighting to establish the scene, the artwork as personal artifacts unearthed from homes, pulling inflatable after inflatable out of your holes. What could a person really need with so many inflatable orcas. Perhaps a pool out back. Room raiders turned the common reality contestant into archaeologist inferring the life of the suitor. Regardless of the accuracy the point was we believed it possible for at least two seasons. Which means we believe its possible in art, objects as refractive lens into another, artist or owner, giving it meaning, a totem transformed. You opening your neighbors cabinet to find the hand labeled essence of books, we read shelves like we read people. The painting asking back at its viewer what do you represent?

Tuesday, April 10, 2018

Zoe Leonard at Whitney Museum

Stuff, decay, waste, time; data visualization has become hot button for business, the ability to represent comes the ability to wield it, and not necessarily inhuman, around for ages with question of how to mark time. There is of course the calendar's abstraction, a system individuating all dates in a grand uniform scale whose rectilinear crates go from now to infinity, days broken into increasingly smaller amounts, paid hourly, an inhuman scale for the mechanization of bodies. The calendar doesn't conjure passing, only compartmentalization, tomorrow's meeting, the calendar is the future, schedules. In attempts to see subjective scales of time, we see wear on shoes, stores closing, passports stamped, fruit rotting in vain. Leonard's practice seems in establishing marks to gauge the rise and fall of water, the rising and falling breath of the city. Stores close, cities revitalize, we pack and move, the body wears, the books become obsolete, our fruits into the floor, the water changes but the falls are still the same, is the point seemed to be made.
Past: Wilfredo Prieto at NoguerasBlanchard

"The Rorsharch tests that nature makes. Predators don’t search for meaning. God gives them to ours to mock us: the more inkblot-like mammals resultant from human domestication; wolves, foxes, and bovine undergoing human selection make Rorschach blots appear. Like God putting an easter egg in genetic biology. Messing back a message to those messing you. A good God joke..."

Click: Wilfredo Prieto at NoguerasBlanchard

Monday, April 9, 2018

Anne-Mie Van Kerckhoven at M HKA


CAD a disservice to artists whose exhibitions come to look like amassed icons floating in the etherous white of networks we scroll through, aggravating the cognitive fatigue of diaspora, ending in images as hyperlinks we cannot click or know. En abyme we fall in the problems of internet consumption, the documentation illustrating the pages we scroll through.  If much of 2010s art succeeded on its ability to alleviate symptoms of screen fatigue by presenting walls of neutrality's palliative, or meme-like jewels for spread, see Sanchez et al., then the big exhibition's ostensible generosity and vanity becomes its disadvantage.

Sunday, April 8, 2018

exhibitionary largess

No contention these exhibitions don't hold up well in documentation, often barely in person, a sprawling fest whose largess is also a request, like serving a 47 course meal everyone wondering how many is required for politeness to be transacted, the paper soaked swells and breaks apart, oversaturated, the books behind glass, presenting the covers you can not judge the book by but cannot open either, lectures sedimented as image, a catalog for anarchist reading, an effort of "slow programming" is pressed into a egg of publicity, which we are given to swallow whole here, a list of events that have already past. 

Saturday, April 7, 2018

Joëlle Tuerlinckx at LLS Paleis


"We know the sky’s blueness even before we know it as “blue”, let alone as “sky.” as Robert Irwin paraphrased, may actually not be true. Art's belief in the unfiltered experience, its underwriter, in that raw sight's could overcome cultural bias to see the thing itself but one of the scarier aspects of where cognitive science seems to be toeing is that raw experience is rife with blindspots to the point of collapse held to together by our cognitive structures we believed as fault, that sky is actually possibly culturally blue. Whatever. There's no truth here, just the carnival of experience, fun house made from the funhouse glass of cultural knowing, the warbled mirror of art's stuttering experience. "Having in this way blurred the borders between space and work, the unprepared visitor may at first not notice the work. Because in the world of Joëlle Tuerlinckx, anything can be exhibited."

Friday, April 6, 2018

Anna-Sophie Berger at JTT


Berger's exhibitions look like group shows, filled to the brim with objects inconsistent. If outward appearance needs consistency to "make sense," if fashion is meant as an expression of its subject, the wearer, we could draw a line from Berger's fashion discourses earlier to now: a breakdown in objects ability to communicate its subject, artist or wearer - the artistic object itself sediments its subject as an appearance - in Berger's denial of "sameness over time" - or pretty much any artistic "signature" - that thing that undergirds identity, instead the river carves new course with each exhibition amassed to the brim with disconnection and forcing a sort of refusal of the usual sense, resist the easy corralling that similarity would invoke, a person of many fabrics.

See too: Amy Sillman at Sikkema JenkinsDarren Bader at Sadie ColesAdriana Lara at Algus Greenspon

Past: Ida Ekblad

" the kids these days they spray kat litter, kick at walls, crust manga felines. The fun of negligence"

Click for full: Ida Ekblad at Max Hetzler, Ida Ekblad at Herald St.

Thursday, April 5, 2018

Siera Hyte at Cordova


Like awaking to find the remains of the party with hangover fully in head, touched,  Hyte's littered objects evidentiary to what was, point to the artist as magistrate god hand, party organizer, but it's less requiem than happiness at the post-apocalypse the doors open to nature spilling into ours, the crust of time and hand, the paper that conforms to your pressure.

See too: Susan Cianciolo at Modern Art

Wednesday, April 4, 2018

Tom Humphreys at High Art


A man bent over looking deep into his own anus to find in there a mirror.
Remember as schoolyard kids holding your breath until you passed out as a form of primitive pharmacological entertainment? That's sort of the experience of Humphreys' paintings and sculptures here, deprivation as pleasure. The directness of image construction - why belabor? While others in the circle have moved into production endeavors or installation, Humphreys' has almost doubled down on the crude plaintives. I appreciate this.

Tuesday, April 3, 2018

Max Brand at Galerie Bernhard


If you rolled a piece of silly putty across the newspaper of Painting's history, you'd have Brand. The paintings are worn, patinated with the accumulated hands of artists, like the graffiti at painting's urinal. Grave rubbings of history, frottage of so many corpses, the accumulated seed some primordial stew whose clean up rag is molding, beautifully, colors. Eventually congealing some fetal cartoon life. Brand's moving away from the neanderthal hamfists of say Joe Bradley puts him closer to Sergei Jensen's vintagification - the washing of fabrics for softness, stains like well-used blankets, the kleenex of history, the teenage folder, everything adolescent, sticky.

See too: Sergej Jensen at dépendanceIda Ekblad at Herald StIda Ekblad at Herald St (1)

Past: Max Brand

"Seeing the soup for its referents and judging hazy memories of once distinct tastes roiling in the surface. so clarified as to not single out any one flavor, any one referent, everything so blended, you could just keep naming ingredients. Which is where we're at today. Soup easy to mass produce, a base prepared in advance can be used to a support a wide and readily available ingredients on its surface."
Full read: Max Brand at Off Vendome

Monday, April 2, 2018

“Stories of Almost Everyone” at Hammer Museum


The hammer opening a box. You likely have seen the video of Ferrell and his windblown partner comedically "not getting art." Sanctioned by the Hammer, Ferrell and everyone involved operating pro bono, Ferrell’s wife on the Board, an advertisement that was embraced and spread, and perhaps something to do with its appearance on CAD now.
In it the Ferrell mocks the art which he of course sees - and least a little - as mocking him. The comedy alleviates the tension of and fear of conceptual art - fear whose expression runs the spectrum from “just not getting it” or incanting “the emperor's new clothes” against it. The film does little in the way of traditional education even when glaringly obvious: Ferrell's explication of the pillow slept on by acrobats is exactly the point, to create a story like a dream inside your own pilloried head. This goes unremarked. Instead the advert supplants traditional education for an implicit training: how to feel okay in museums by arming potential visitors with a weapon against artworks: irreverence, jadedness, mockery, that interminable arms race of cool we all learned in grade school by proving who could care least. The Hammer’s spectacle almost begging people to feel okay mocking art. That we now feel the need to educate people in artistic insouciance is a symptom of how badly the artworld had arranged itself toward the opposite: decades guiding the public toward veneration and supplication toward it. Needing to explain to people you can make fun of art, condoning it. That art and more specifically contemporary art museums have become synonymous with entertainment, younger people finding themselves gravitating to MoMA rather than the Met, the Hammer has made a decision to consciously align itself with this new audiential target, the young who are interested in art but have little or no education in it, and goes out of its way to cater to this audience by claiming a stance against the education priorly requisite. This makes sense. Even the Met is opening contemporary wings. The outreach seems sensible. Ah to be mocked by a famous comedian! what success, to be patronized by a movie star playing the everyman. “Stories of Almost Everyone”

Saturday, March 31, 2018

Amelie von Wulffen at Reena Spaulings


It's almost like the history of painting is a trauma that comes bruising into von Wulfenn's paintings. How images transact through time, in notional reassemblages, incorrect.  Our memory of Matisse is like seeing the past in bad dreams, crushed into the present. We have memory of how painting was, how history functioned, how impressionism was painted, but it's wrong, like your head full of hangover, a painting full of malfunction, its shipment through time arrives damaged. The hematoma is fine.

See too: Amelie von Wulffen at Barbara WeissAmelie von Wulffen at Freedman Fitzpatrick

Past: Amelie von Wulffen at Barbara WeissAmelie von Wulffen at Freedman Fitzpatrick

"of the few painters not caught up in their own stylistic bog"

Friday, March 30, 2018

Jason Fox at Almine Rech


While the imagery has been blunted over the years the psychedelia remains, the optical tricks of overlay and transposition:

"The near-holographic parallax induced by its ever-shifting appearance returns one again and again to the provocation of the content-specific conceit and to its function as a perceptual heuristic. Like the famous gestalt of the duck and rabbit, these portraits were mutually exclusive, such that in order to see one, you had to forget the other. And this is to say nothing of their sites of slippage between representation and abstraction, where, in tandem, they altogether fell away." -S. Hudson
But you should sift though Fox's semi-thorough website for the weirder stuff, the more liquid stuff, find the paintings on sleeping bags that look Berlin Biennial today and made 20 years before.  The baroque form of objects, mocking the minimalist mantra that things "are what they are," because sometimes they are too much, they trick us, have a presence that exudes something that we can't hold at a remove, they are sticky to us, even inside us.

Wednesday, March 28, 2018

Jana Euler at dépendance


Has your consumption of news increased dramatically, nauseatingly, in the past year? Feeling bloated at its high volume low satisfaction? has the act of reading the new begun feeling like eating literal newspaper? If Euler "attempts mirroring our contemporary conditions" and " the figures in the paintings act as a metaphor to emphasize the failed power of an individual to accommodate the current rise of technology." it's because Euler's paintings feel like eating the news, both it and Euler's paintings like a just opened lid and staring into the bait to unpack the whole, pulling one referential string and the whole thing deluges like clowns out of cars, only guessing at the number of clowns in the office. How insane it all feels, how microtized to the wind. The thread pulls endlessly, and the sweater never comes. The images today will read different tomorrow. The pace of the snail, has it changed or is the view moving faster around it? How to contend with that.

See too: Jana Euler at Galerie Neu & PortikusJana Euler at Kunsthalle ZürichJana Euler at Bonner Kunstverein

Tuesday, March 27, 2018

Past: Jana Euler at Galerie Neu & Portikus

"Photoshop makes surrealism quaint, Magritte's entire practice premised on its most basic tools, transpose, cut, drag and drop; and today phone apps like magic mirrors to show you elderly, replace your face with your dog, barf rainbows at will in a world that is totally virtual. The image today a total malleability."

Cosima von Bonin at Friedrich Petzel


"Von Bonin's post-'90s work anticipates the professional artist's return as full-time manager of her own brand-image.  [...]  Graw describes von Bonin's shift from ephemeral and intensely collaborative projects to the kind of object production befitting an international art star both as a decided "capitulation" to market forces and, paradoxically, as a devious "outperforming" of the market's demands. [...]  In any case, von Bonin's use of style as a means of elaborating games between subjects and objects, between the artist and her works, is as controlling as it is evasive. It is where the contemporary subject loses its distance from the commodity, but it is also the place where distances can be reappropriated and made strange again. " -JKelsey
"Her art is soft and sociable but dangerous underneath" - JFarago
"Von Bonin is no handmaiden to either the marketplace or academia. Somehow she slips betwixt and between these two extremes of our current art-world narrative, indeed creating her own, alternative 'plot.'" -F Hirsch

This seems to be the place where writers stop. Having attempted and failed to peel the stubborn adhesive from the surface they claim, "ah look how stuck together they are!" And admittedly von Bonin's adherence to the commodity - despite every critical attempt to remove it from - is sticky stuff, and eventually one wonders if there is a layer at all, or merely a patch drawn to appear such. And the whole critical art world grouped around attempting to pick quarters painted on the palatial shopping mall floors while above their bent necks the objects transact. The critical establishment hallucinate quarters because they are needed to eat. They stand around in the shape of an old president.
"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere crossed my mind and I set to work straightaway." "What is it? In fact it is objects." -Broodthaers.

See too: Simon Denny at MoMA PS1

Monday, March 26, 2018

Lena Henke at Kunsthalle Zürich


Because the turd is a form morphing in a viewer. The dimensional Rorschach, the sculpture everyone makes to turn down and see themselves reflected in the water at, a picture of you for your interpretation. Even looking digested, worn at by smooth muscle of artistic intestine.  How regular are you, how often have you practiced this interpretation, looking at the german shelf of porcelain. What does it mean that it's green, that it's black, there are guides, the internet will tell you its based on the location of the bleeding in the tract. Wiping course woven sheets to clean our concrete of our personal tea leaves at the bottom of the cup, a poop joke.

See too: Alma Allen at Shane Campbell
Past : Lena Henke at Kunstverein Braunschweig & Louise Bourgeois at Cheim and Read

"...apparent in those like Henke for whom physical things act as moments of duplicity, locus for multiple apparencies, big black table eyes. There is too many things to say about these things, looking like too much, their genericsm becomes strength. A low poly mesh provides metaphorical possibility in its low resolution. The harder it is to define things the larger their aqueous potential..."

Click: Lena Henke at Kunstverein Braunschweig & Louise Bourgeois at Cheim and Read

Sunday, March 25, 2018

Seth Price at Museum Brandhorst


There's just so much institution to this documentation. You feel the presence of the museum, the space, the frame architecture. The thing pulse, veritably breathes with capital, symbolic blood. The cavity, the bone white rib cage and the diaphragm HVAC, ventilated, for our aspiration, our hopes on the brown track running through us. Our institutions that resemble the bodies they are - space for lungs, lights for nutrients, passages for "digestion."  Passing us meals of contemplation, eventually defecates them for our plates and we eat their excitement.

See too: Brian Calvin at Le ConsortiumJef Geys at Essex StreetGaylen Gerber at Emanuel Layr

Saturday, March 24, 2018

Past: Seth Price

"As the joke became boring Price had again already preceded the malaise, attaching a novel with the critique already in hand explaining - in Price's elegantly mechanical prose - how the artist had become deterministic automaton in highly codified and symbolic trade-show of art where the good could be synthesized and produced like any other commodity as long as one understood the game that Price could - all too knowingly - lay out very well in the very non-fiction auto-narrative looking back on his then ripening career producing the good, highly collectible objects that looked just vacant enough to be salable and all too clear to the viewers of this exhibition and those thoughts already thought for you..."

Click: Seth Price at 356 Mission, Seth Price at Stedelijk Museum

Friday, March 23, 2018

Wolfgang Tillmans at Galerie Buchholz


The promise of Tillmans' photographs is that maybe we too are living lives worthy of documentation if only our own humdrum was given the micro-attention of such a lovely eye then we too could be seen, could be seen as worthy, placed on walls, actually be seen. It's a base human impulse, the need to be seen, recognized. Tillmans' eye fills with the promise of this possibility, of someone loving you no matter how banal, even the lowly ogre's onion, which is why all Tillmans' photographs seem to come pulled from a drawer in your parent's house and seeing yourself 30 years younger: the photos aren't great but they come with hammering benevolence attended to creatures we care for, walloping with a nostalgia that Tillmans has found as immediate packaging, that the inherently eligiac medium also promises preservation of someone's sight of you.  Which is maybe why Tillman's always evokes comfortable denim, this base promise of finally of someone finally seeing you because your butt finally looks good packaged by the right hand and someone will love you.

Careworn: Susan Cianciolo at Modern Art
Past: Wolfgang Tillmans

"Tillmans unanimously loved with a work just so friendly, empathetic, every frame softening its subject;Tillmans the great tenderizer, photographs in softness well worn like comfortable denim in its endless micro-sensitivity, a magisterial flow into the interstitial micro-politic of the personal as political. The cotton t-shirt, the fabric of our lives. Tillmans is intoxicating; perfuming our dreary lives with the hope of aesthetic empowerment."

Click: Wolfgang Tillmans at Daniel BuchholzWolfgang Tillmans at David Zwirner

Wednesday, March 21, 2018

Oa4s at Lodos


The rising ubiquity of the lab, our alchemical noodling in povera forms, roleplay to deal with trauma of not having our own, expressions of our desire for productivity and vitality of scientist's real results, like children who feign adult, play house, to feel like they have one, the human impulse to invent magic, gods, to fill the coldness of their absence, to feel the glow of control, even in invented worlds, until the adults come in and strip the sheets off our nakedness.

Tuesday, March 20, 2018

Harald Szeemann at ICA LA


Obvious the all sorts of questions like what it means to recreate exhibitions. And all the weirder that the recreation through the simple ubiquity of its documentation and its outsize viewership now as to then, this, the recreation, will the remembered one. The stubborn block. We look through CAD, through its lens to the object. The document becomes the object seen.

Lucie Stahl at Cabinet


They hyper materiality of Stahl's earlier HiDef gurgitation is traded here - the resin soaked works which worked like soap's tighter attempts at control, sent physicality slipping from grasp, everywhere expelling digital gloss - a slipperiness that this exhibition finds in the cognition of pumping. The concern for wetness and Metaphor's sponge: pumping, like liquidity, milking rooms, the intravenous network of pipes, exchange, capital flow, financial meters, water tables, inelastic demand and liquid assets, dry powdered milk and barreled crude, black and white, gallons and barrels, flood plains and dry market: In 2012 a drought in New Zealand causes the worldwide prices of powdered milk and crude oil to diverge for the first time in a decade, this according to a website tracking such flows, the Progressive Dairyman. The point being the interconnection of flows that deliver also tether us, pipes become bars.

Past: Lucie Stahl at Halle Für Kunst Lüneburg

"Which whose then, despite their slight derivatives, 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."

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?"
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 maze but a hyperlink version..."

Past: Judith Hopf at MuseionJudith Hopf at kaufmann repetto

"Each brick lain sedimenting a decision by the artist to continue. Stonewalling yourself"

Thomas Ruff at Rüdiger Schöttle


The absolute banality of Ruff against the subjects depicted. Some subjects: Skies littered with stars, explicit sex, people's unique and individual faces: all are given a treatment that is attempted to be at total remove, Ruff's almost struggle to render it boring. All the grandiose pomposity used to describe the "historically and photographically fascinating source material" is given what is akin to pressing ⌘I in photoshop. The measure of the means doesn't necessarily define the ends, but the gesture's simplicity, along with all its attendant "negativity," doesn't so much revitalize the source material, as the PR would imply, as it shows the source - as any other material - as manipulable by the slightest command to alter it indefinitely, completely alter it, at a whim be reduced to complete and utter inversion, and all the stupid simplicity of that.

see too:  Thomas Ruff at S.M.A.K.

Monday, March 12, 2018

Past: Lucy Skaer

"...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."

Past: Lucy Skaer at KWLucy Skaer at MRACLucy Skaer at Murray Guy

Sunday, March 11, 2018

Nancy Lupo at Antenna Space


Encased in Soylent - that complete nutritional replacement, everything the body needs, body powder, and of course us all knowing its green version is people - we couldn't help but see their pale applied flesh as bodies themselves and representations of the increasing plastics inside our own and correspondent sudden and mass fear of endocrine distribution as estrogenic seepage turning a world's men into castrati and a world's water into one giant liquid castration complex; plastics became the Freudian fear, of lost phallus now aerosolized into everything and manufacturing changed overnight in order to allow our cheap crap to come with a new sticker: BPA free. We had to protect masculinity. We had to protect the body described as "fastened to a dying animal," in a poem from time when body/mind distinctions were thought clear and imagined a possibility of being able to slough your flesh and emerge fresh to be pounded shaped into gold and set upon branches to sing like Yeats if our passages weren't so congested with stuff.

Saturday, March 10, 2018

Past: Nancy Lupo

"Like eye goo, stuff's service is its waste, a continual sloughing, so we can remain fresh, clean. Stuff accumulates, piles, is shed. Stuff is quasi things, is transient, transactional. A disposable fork is, like, quintessential stuff."

Nancy Lupo at Kristina KiteNancy Lupo at Swiss InstituteNancy Lupo at 1857

Friday, March 9, 2018

Henning Bohl at Karin Guenther


"Chappelle discussed the use of his image on Prince's single, admitt[ing], "That's a Prince judo move right there. … You make fun of Prince in a sketch and he'll just use you in his album cover. What am I going to do, sue him for using a picture of me dressed up like him? … That's checkmate right there."

The above image is actually from Bohl's last Balice Hertling exhibition, but the whole wrap up is summarized in the PR of this one if you wanna play along. It's hard to discern the knot when one is tangled in it. A brilliant tactic to ensnare the critic in the brambles they are ostensibly intended to disentangle, forcing seeing briers for the forest, grounded from the critic's usual ivory vantage, quagmired. Added to the "narrative." CAWD's attempts to remain deaf to artworld festivities like putting headphones on at Christmas and uncle Bohl's hearty and "dialectical" bearhug is impossible to discern as friendly or hostile so that when asked how you feel about Christmas your professional opinion always stated through a hostage's clenched and smiling teeth. Like, neutered. "not the social drama, but its modes of expression" and Bohl's hands proffering the original mugs.

“Sitting Bone” at MAVRA


Hasn't this been like the third Giger chair we've seen in the past year? He's been mentioned in at least 2 press releases (Caroline Mesquita at T293 and Anna Uddenberg at Kraupa-Tuskany Zeidler) and there was for sure another chair at Lomex in their EAT CODE AND DIE. But the last Giger chair on CAD appears to be the Swiss Institute's exhibition of chairs, Fin de Sièclein 2015.  Gigerian chairs simply feel present in the winds of art with its trends for examining bodies through the technologies that are built around them (Lupo, Reaves, Uddenberg, et al), so the skeleton melded  architecture fit for more cushioned parts feels apt.  Chairs are an innuendo for body, an allusive or oblique remark or hint towards the meat that you don't want to be forced say aloud as the gas bag of "human" so you politely place a chair, like those placed in the corners of hotels/lobbies not to be sat in but to politely declare the room capable of relieving your meat baggage, place a surface whose softness designates the degree of welcome to your reception, like you don't want to say butt so you say Sitting Bone.

See too: Caroline Mesquita at T293Anna Uddenberg at Kraupa-Tuskany ZeidlerJessi Reaves at Bridget Donahue

Thursday, March 8, 2018

Past: Simon Fujiwara at Dvir

Fujiwara: "I was teaching in Amsterdam and wanted to take the students to see the house as we were discussing monuments and how ideology translates into material language."
"The Anne Frank House [...] is one of the few places where every mundane detail of a home—door handles, wallpaper, floorboards—transcend their material status and become symbols of tragedy and hope."
"Inside the house, I was told by the guide that almost nothing of the original house remains except for the structure. That the house was only purchased after the making of the first Hollywood film about Anne Frank"

Full: Simon Fujiwara at Dvir

Wednesday, March 7, 2018

Josefine Reisch at Noah Klink


Our objects are goo, waxen, like a sneeze frozen into architecture; our paintings are clean, delineated and, again, contain the depth of an iPad, the interface display, flat, there. The painting's display technology, the objects warm body. And the scarves before and the floating papers here held up like the skin between, and the tulips a flesh technology for beauty.

Tuesday, March 6, 2018

Aaron Angell at Koppe Astner


As the world feels closer and closer to destabilization, autocratic leaders, isolationism, far-right tolerance, moves closer towards its end we find solace looking towards the primitive technologies we might find as our future, and the deities we will worship in the trees we once had.

Monday, March 5, 2018

Martin Soto Climent at Michael Benevento & Yuji Agematsu at The Power Station

(link: Martin Soto ClimentYuji Agematsu)

The enrapture of sensitivities, enwrapment, a container allowing movement, transaction. The Amazon box that allows its sales; cardboard a larger problem than the items it contains. The packaging that makes up the mass majority of waste.  Shouldn't we be speaking more of wrapper than "content", the mass majority of garbage that we have become hostages who love their captors to, enshrine odes to our hurt.

Past: Yuji Agematsu

"Our growing attraction to trash..."
"ecosystems, precious, a sentimental morality resituating the natural to include microplastics dissolved into heavy saturation islands in the great pacific beverage"

Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel AbreuYuji Agematsu at Real Fine Arts,  Yuji Agematsu at Artspeak“May the Bridges I Burn Light the Way” at STANDARD (OSLO)
Past: Martin Soto Climent

"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 DREIMartin Soto Climent at Atlantis

Saturday, March 3, 2018

Albert Mertz at Croy Nielsen


Perhaps stronger conceptual forebear than the Supports/Surfaces group to the likes of Dianna Molzan for whom Hainley gave the lovely description of "voguing their structure" i.e. striking the poses of painting, brandishing its look, flaunting itself, but perhaps "Deconstruction of the furnishing of painting" Meertz programmatic version -  "serv[ing] as an intellectual exercise, declining all conceivable cases of painterly possibilities, but lastly also becomes a physical exercise for the viewer since ‘the labour of the audience ought to be the same as that of the artist’" - best meets the definition given on Paris is Burning as "a kind of institutionalized showing-off."

Friday, March 2, 2018

Joseph Holtzman at Bel Ami


"After all, style—clothing, curtains, the smell of someone’s body, a social circle, a painterly movement—requires a material subject, someone with an instinct for impressions. [...] a close investigation of the details that make up a body, and the surfaces and the colors, which inform its moods, instincts, and mannerisms. Style, ventriloquized through painting, drives the show home." - pr

We're trying to rescue "style" away from its pejorative kidnapping by the schools of it. That, apart from an individual's subscription to a genre of style, (bauhaus, hipster, monderist, minimalist, bobo chic, et al), style is an individual's outward expression of a subjectivity, even the unfashionable, plain, manifest "style": did conceptual art not dress itself in the style of bureacracy.  This distinction is clear in Holtzmann's interior design magazine which inverted the "shelter magazine" template, no longer publishing authority its readers were meant to subscribe to and replicate in their own homes, but rather a document of other's own idiosyncratic expression, famously documenting a diaper fetishist's personal crib. The more or less latent sexual desire that sediments as objects, homes, and design, having a lot to do with art. And so if the pr is seeming quick to defense of Holtzman's pizzazz, its because the most of us have confused flourish as "style" and thus puerile, and not as the grave expression of our own internals, painted on marble, and heavy, like flesh laid over bone.

Wednesday, February 28, 2018

“The Pain of Others” at Ghebaly Gallery


CAWD on our art's cuckolding, on our fetishes, on our intentions to own our pain through others: Desensitization