Tuesday, November 20, 2018

Eva Koťátková at Convent


The aesthetic of Medieval Torture, of rat cages, of sharp objects you're not supposed to run with. Art has a masochistic love, an attachment to things that hurt us, it makes them swell to monumental. Mona Houtom or Jeff Koons. So much power art is so violent. Its purchase providing some capitalistic transcendence of the threat, which you now own, you now exert control over, can threaten with. In marketing this is creating a problem to sell the solution. The artist offers nervous uncomfortable objects, an anxiety the collector relieves himself of by buying, the writing through understanding, the common man by crying.

Monday, November 19, 2018

“Verlörung” at Art Berlin


Why not maximize the product, increase the wallspace into a complex, non-Euclidean like lettuce, a surface area excessive of space. Like lettuce. Make it baroque, grotesque, caricature of the exhibition. It's the same but more. Frilled with lettuce space. This is interesting, this is a cartoon, the one we live in, a maximization, like an efficiency, like an apartment, hoarded toward labyrinthian conditions, scraping everything we can get out of it, to make stone soup.
Past: Deana Lawson at Contemporary Art Museum St. Louis

"And not necessarily treating her subjects kindly, the best light remains Lawson's, photographic adeptness bending subjects to her. [...] These are what photographs live for, the construction of a subject, here a person. At least these curtains seem properly adhered."

Click to read full: Deana Lawson at Contemporary Art Museum St. Louis
Past: Anna Ostoya at Silberkuppe

"[The office paper shredder's] futurist and Sheeleresque overlay a quasi-destructive act that reviews of spend most space ignoring to tell you about the images buried because its usually easier to elucidate history than art."

click to read full: Anna Ostoya at Silberkuppe

Saturday, November 17, 2018

Leda Bourgogne, Ida Ekblad at Kunstverein Braunschweig


The excess physicality in painting, the scabs one end and wall vents on the other, perhaps because we're so beholden to virtual environs that we need a new harder visceral materiality to reach across screens, so we can feel like we're feeling something other than glass.

see too: Ida Ekblad at Herald St (2) Ida Ekblad at Max HetzlerIda Ekblad at Herald St (1)Tony Conrad's Glass
Past: Lutz Bacher

"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 its signification photocopied to death..." "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."

Read Full:
Lutz Bacher at 3320 18th St
Lutz Bacher at Daniel Buchholz (3)
Lutz Bacher at 356 Mission
Lutz Bacher at Statens Museum for Kunst
Lutz Bacher at Daniel Buchholz (2)
Lutz Bacher at Daniel Buchholz (1)
Past: Ida Ekblad

"Paint coagulates, a crust like Ekblad's Mr. Kellog's Cornflake Scab stuck to fine surfaces. Scabs are excess of bodily presence, we want to pick them, peel them from our elbows, remove the corpsing exuberant. It's itchy [...] Like Lasker's stupid strokes, a clownishness, an exaggeration of the painterly ... forcing painting to speak with a mouthful of bubble gum."

Click for full:Ida Ekblad at Herald St (2) Ida Ekblad at Max Hetzler, Ida Ekblad at Herald St (1)

Friday, November 16, 2018

Diamond Stingily at Freedman Fitzpatrick


The transition from handmade dolls to mass produced Teddy Bears had to be meaningful for the unconscious of humanity. All sorts of issues for what it would mean with children grown on loving sweatshop objects. Units of CareBears moved. To move you. Shouldn't the Toy Story characters speak Chinese? Dominant culture gets to force its cast to speak its language, dub them against their natural speaking voice, force adoption of its language. It's called localized for a market. It's called acting white. It's called "he's eloquent." called AAVE, a vernacular nonstandard but "equal." They surely will speak whatever when localized for market. Giving commodities to children so they learn to love their master. Because really they'd speak Mandarin. Klaus Biesenbach's apartment has nothing in it and is entirely white, which is a lie since minimalism is basically predicated on closeting the workers you're standing on, but we'll give him several architectural and NYT magazine spreads anyway, a new advancement in whitewash interiors. Because pretending the working body isn't there, pretending everything spontaneously generates on store shelves clean, without indentured sweat, is important to our culture. Corporate production gets so massive it takes pains to relocate itself, force adoption of itself, anything outside it gets the searchlight, brought back under eye that is pretended as benign with total market share, control.

see too: Melvin Edwards at Daniel BuchholzDiamond Stingily at Queer Thoughts

Wednesday, November 14, 2018

Han Bing at Night Gallery


Maybe what was so great about Richter's squeegee is proving that abstraction was asinine, it could abused. How maddeningly dumb it could still survive as. These are stated as not abstract since they from photographs of abstraction, and thus "evidence a tenuous balance"of getting cake and eating it, and looking like it, cake, too.
Past: Jutta Koether

"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..."

"what you're looking at isn't what you're looking at: what you're looking at is cultural baggage, garbage piling your sentience. It floating to the surface like diapers, the noise of signal and symbols. You can't see purely, you are clogged with reference."

Tuesday, November 13, 2018

Lucy Dodd at Sprüth Magers


reminiscent Amanda Ross-Ho's big-ass tie-dye T-shirts - the cosmic/comical scale of psychedelia amped. Into sizes everyone has to mention in reviews. And Anicka Yi's antidepressant and palm essence elixirs.  Elixir and kaleidoscopia spread across canvas to make a painting as potion for the "spiritual" that has returned so strongly and forces belief once again.

Monday, November 12, 2018

Augustas Serapinas at Basement Roma


The gallery's neighbor is pet groomer. And neighbors and previous tenants are sorta what Serapinas seems into, using neighbors. Past instances include a locksmith's keys melted into sauna buckets and curtain rings, as well as a neighbor's pen getting into into some bread. In behaved conceptual art fashion is engorges its signifiers with a vitality, allowing the life of writers and press to extrapolate until a blue that's on brand. But this exhibition is much funnier as a literal attempt at represenatational act, attempting to see through walls and well envision the neighbor that everyone writing think-pieces about how we are so disconnected from. A gallery exists next to a pet groomer. Wipe enough fat on the walls and eventually they becomes transparent. People like to see their neighbors in themselves.

Saturday, November 10, 2018

Past: Amy Lien and Enzo Camacho

"directly asked in the PR like a book club edition's questionnaires for sparking conversation and us looking to find answers, searching at all the beauty of totem poles."

Read full:

Friday, November 9, 2018

Gili Tal at Cabinet


the question of what outside your window could be less interesting than this. You draw the shade on the world just to be mocked by this, a curtain that won't let you escape banality. If the photos are by no means good, would it not be fault of the world they depict? It is your city that is ugly, and you should be forced to buy one of these as reminder that your castle not separate from. This mindset allowed for the suburbs, its devolution into ugliness, people moved in personalized containers, personal vehicles in trajectories to their big boxes sheltered, their home, their work, moved in submarines of personalized climate, protected in white walled towers. Curtains are a weak force against the world that these posit perhaps someday someone will invent something to break glass, and the world will flood in.

Modern Gothic is a mode or genre prevalent in Contemporary Art from the early 21st century to this day. Characteristics of Modern Gothic include the presence of banal, irrational, and transgressive thoughts, desires, and impulses; grotesque settings; dark humor, and an overall angst-ridden sense of alienation. While related to the Southern Gothic tradition, Modern Gothic is uniquely rooted in contemporary Capitalism's tensions and aberrations. During the 21st century, the everywhere-nowhere setting of today's post-industrial cities became “the principal region of Modern Gothic” in art. The Modern Gothic brings to light the extent to which the idyllic vision of the progressive, collectivized City rests on massive repressions of the region’s historical realities: capitalism, class, and patriarchy. Modern Gothic texts also mark a Marxist return of the alienated: the region’s historical realities take concrete forms in the city's banality of power structures that highlight all that has been unsaid in the official version of Modern history. Because of its dark and everyday subject matter, literary scholars and critics initially sought to discredit the gothic on a national level.

Modern Gothic: Morag Keil at Project Native InformantGeorgie Nettell at Lars FriedrichGeorgie Nettell at Reena SpaulingsGili Tal at Jenny’sWill Benedict at Overduin & Co., Merlin Carpenter at Overduin & Co.
Past: Gili Tal at Jenny’s

"The more pathetic and depressing aspects of commerce's reign are mirrored in Tal's reconstructions of it, like those half empty coolers, a lightness mimicking advertising's own getting closer to grim comedy alongside a press release from hell once again reminding us all of our relegation to capitalistic damnation..."

read full: Gili Tal at Jenny’s

Perhaps the worst of art is paying attention to artists circulating on, I guess, someone's dollar as an update to the bohemian-chic lifestyle we've been culturally fed as the artist's way now updated with easy first class tickets and diaspora of art centers all needing to be curated and shown the same art, the same names and everyone playing along at home from their TV screens which broadcasts the fantasies of their bohemia back at them.

See too: Ian Rosen at The FinleyIan Rosen at Kristina Kite186f Kepler at Contemporary Art Daily
"Clifton Palace," “Pho Viet Huong” "Vzszhhzz," "Astro 5," and "Tes Yeux" at 186f Kepler

Thursday, November 8, 2018

Past: 186f Kepler

"2015, 186f Kepler releases press stating the liquidation of informational categories as more closely resembling the aqueous system of art, and it’s true, the Field of Cultural Production now looks less like the rigid markets of symbolic goods and more like social systems of pedigree in which, as predicted by Deleuze, the postscript on society’s controls turns institutional interiors into dispersed system of self-policing and production, in which there no longer is an outside to market, your existence becomes the system of circulation for circles and scenes, seeking the endlessly theorized “network” of social capital. And here having CAD as your sandbox to immediately sediment your activity with visibility, you can do as little or much as desired, with enough accredited names attached you’ve got CAD to market your dispersion for you, becoming “of interest” simply by having been listed. 186f Kepler does in fact mirror and perform the social mechanism in which liquidation isn’t so much “escape” as marketing..."

Wednesday, November 7, 2018

Jacqueline Humphries at Modern Art


the more vulgar excesses of Humphries's paint always excused by its obliviousness to the demands of "making a painting." Humphries's almost without-composition but still composed, paintings like an accident, car or bed sheet. And these are readymade, the previous paintings reduxed with the latest deployment: ASCII printing. And so Humphries' drip, brushstroke, mark, neither expressive nor quotational of expression, paint is instead already perfectly dumb. This separates them from the hordes of zombies: no search for brains. Instead the cannibal-without-purpose seems pleasant after so many decades of painting's conceptual juicing. Like Richter whose painting exists in the netherworld of a stupid transcendence, instead just give us what we want, paint, flesh, dumbly.

see too: Jacqueline Humphries at Carnegie Museum of Art

Past: Henning Bohl

"Bohl is the indeterminate horror that knot guy fears."
as quoted in full the PR here

Past: Henning Bohl at What Pipeline, Henning Bohl at Karin Guenther
Past: Jacqueline Humphries at Carnegie Museum of Art

"The thin distinction of Humphries from the song and dance of all those other silver abstractionists is that the well worn jazz hands of "expression" aren't, for Humphries, totally choreographed yet by Dr. Frankenstein. While the corpse may have its fluids replaced in technicolor, paraded around in chromes and newfangled chemiluminescence, it's the activation of this new deployment of means, materials, not just silver paint but making the silver paint shine like candied yams."

Click for full: Jacqueline Humphries at Carnegie Museum of Art

Tuesday, November 6, 2018

Kerry James Marshall at David Zwirner


The paintings everyone's talking about because it's easier to talk about prices than art. That's the hegemony of price. It is the abstraction allowing exchange, both monetary and conversational. Everyone can talk about it, even if poorly.

see too: Kerry James Marshall at MOCA Los Angeles
Past: Kerstin BrätschKAYA
"Genzken the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects. And whereas others used this to produce "series," Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, amassing product and centering production as the point. That the production of itself became the product."

Adam Kleinman in TZK: "as many artists have learned to feed this desire with work made quickly, but with enough conceptual acrobatics to make them acceptable as part of a canon of their own oeuvre—or that of a supposed canon on the critique of modernity. And here, the artist has found a way not only to maximize the circulation of his/her work, but also to reduce the budget in terms of both time and materials—the original shady business of “skimming”, although one that is justifiable considering the low rate of artist fee’s. Within this particular loop, a potential critique of excess is ensnared as another symptom of that very excess. And it is with this dual farce of today’s production and related branding activities, namely the desire for the curator to collect and justify an artistic industry of prefab and ready-at-hand esoterics, that one should enjoy DAS INSTITUT’s irreverent something for everybody with a little for everyone approach."

"WHO says by 2020 depression will be the second most prevalent medical condition in the world. Rats pleasure themselves to death. ...use of beauty as a deployable assaultive thing, prolific- likely what critics refers to as the artist's "advertising strategies" - exhausting..."
Click here Kerstin Brätsch at Gio Marconi
Click here DAS INSTITÜT at Serpentine Gallery
Click here KAYA at Deborah Schamoni
Click here Kerstin Brätsch at Gavin Brown

Past: Alice Tippit at Night Club

"Between the anthropomorphic and the pareidolia is the seeing ghosts in images that contain a sort of liquid content, innuendo, form to the container-viewer"

See full: Alice Tippit at Night Club

Monday, November 5, 2018

Diane Simpson at Herald St


Simpson's is like watching objects preening for their digitalisation, become icons. Begin from "from flat printed matter, renderings of material culture discovered in used bookstores, university libraries, and online archives—pictures of medieval clothing, Art Deco patterns, or commercial packaging design." Which as our relationships between 2 and 3D, virtual space and physical space become ever more fraught, (see the ability of IKEA insistence on flat pack, alleviating the physicality of distance and reduce shipping to basically reign over low-end furniture) the details become hardcoded, organics are put into firm boxes, codified, cubicles, far easier to measure pack ship and thus virtualize, it of course feels apt to Simpson's resurgence today: that we enjoy our detached contemplation of our oppressor. We move real world problems into aesthetic fields, which feels like control, they're lovely.

*Kate Nesin, Artforum

Sunday, November 4, 2018

B. Wurtz at Richard Telles & ICA LA

(Richard TellesICA LA )

There is now a waste issue called "aspirational recycling" in which "people set aside items for recycling because they believe or hope they are recyclable, even when they aren’t," no longer just trash clogging our excretory paths but hopes clogging our recycling. Headaches as evidence of anxiety at the hands of trash of which the Wurtzian model provides a relief in seeing the the objects cared for, not amassed in landfill graves but given the second life in carousels. Our aspirations finally lets them levitate, holding them off the ground, where they would become trash. Which they are suspended from.

see too: Paul P., B. Wurtz at Cooper ColeB. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)B. Wurtz at Metro Pictures

Saturday, November 3, 2018

Past: B. Wurtz

"that the details aren't trivial. They are the attachments of care, sewing buttons to close coats around a warmth for when another person can't.  Wurtz's more homely space is all about knots tied, and buttons threaded, plastic bags hung to dry. They're dumb objects rescued by so much care like a responsibility shown for them."

"The American Gym Sock. Tied to teenage boys, normally repositories of filth, seed, and feet, normally locker room attire. a pubescent attire. Pimples and athletics, is here given a fastidious clean, highlighting its cotton and comfort, restoring purity, virginal phallus and receiver of course."

Paul P., B. Wurtz at Cooper ColeB. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)B. Wurtz at Metro Pictures

Friday, November 2, 2018

Mary Obering at Kayne Griffin Corcoran


It seems there's become a scramble to repair art history, reweave the tapestry's holes left by the moths hungry for the limelight. The omissions all pretended never happened. There is a problem with revisionist history in omitting that we did need to revise it. It would feel better if hadn't come so late, come after women artists finally also flying towards the moon with prices, the galleries tinting theirs with suspicions of market plays and generally not at all fair to the artists. KGC has a better track record, having always looking at least partially back, and so suspicions should maybe be muted, there's no fluorescents here. Though it does kinda look like a beach in moonlight.
Past: Allison Katz at MIT List Visual Arts Center

"We - despite all - trust art to tell us something about subject, and Katz's "self-portraits" make this mirror between painter and self-subject anxious by threatening this trust: painting that feel like fibs, competing styles that delay any coherence in its subject, the painter, our trust for the text to tell us something about the author."

Click for full: Allison Katz at MIT List Visual Arts Center

Wednesday, October 31, 2018

Raúl de Nieves at Freedman Fitzpatrick


Too much decoration is a terrible thing. We call it "gaudy" or "garish" or "lurid" or "vulgar" no longer arranged but vomited in quantity, too much, like the clowns on view who baroque their face to comical levels found frightening, a rupture of the socially decorous. Because these are ethnocentric terms, wielding the symbolic violence of "taste," and such it is rare museums didactic their greek statuary with "this greek marble would have actually been caked in makeup like a whore" preserving both the marble and myth of white antiquity. The myth of white antiquity that believes in the raw lineage that gives us aluminum Macbooks and UberBlack as opposed to the lesser Ubers which come in colors disorganized. Sontag wrote the word camp and it suddenly allowed the intelligentsia to participate in the kitsch with the shield of irony, but if you weren't, if you couldn't, what then if these were just garish.

See too: Joanne Greenbaum at Crone, Olaf Breuning at Metro Pictures

Tuesday, October 30, 2018

João Maria Gusmão and Pedro Paiva at Andrew Kreps


As if the several images of projectors illuminating gallery walls wasn't enough, we brandish the literal celluloid here to state "this is a physical object," a spell to ward off the anonymizing ether of digital networks that would, god forbid, force competition with every other image. Instead we wreath it, frames architecture filmstock perforations. Objects seem to almost fear their dispersion, fear their image against Instagram mass. Kreps website doesn't actually have the photos without their frames, that's a CAD exclusive perhaps ready for its close up. And the celluloid is labelled like a movie, time and all. Walls for protection. It's important to keep you distinct and the gallery in its resplendent pasture, separate from the polloi.

Monday, October 29, 2018

Past: Kaspar Müller

"Not knowing is unacceptable, but outright rejection would prove viewer's impotence, thus created an environment where artists are able to produce further and further extremes of blankness, vacuums filled by refusals to not-know, whose sensory deprivation creates phantasms, see the abyss looking back because we are doing the projecting."

See full: Kaspar Müller at Société, Kaspar Müller at Federico VavassoriKaspar Müller at Museum im Bellpark

Janice Kerbel at greengrassi


Typographic enunciation. Abstraction that get its content too - legible. All manner of questions in the difference between reading and looking. One is data processing, a systemized manner we have been trained specifically for. That though the "lake" in your head is not mine, we have quasi-equitable terms of exchange. And so you can disappear into a text, be "transported." Looking keeps you here, staring, what you are meant to do with that is up to you.  The difference between a serif or sanserifed "GRAB" is interpretable.  This "Grab" is fancy, that "Grab" is plain. The different garb we dress in. Despite comics' or Wool's long interest in such matters, these are dressed tastefully in tuxedos to match our white walls.

Sunday, October 28, 2018

“The Myriad Forms of Visual Art” at The National Museum of Art, Osaka


The strangeness of documentation that doesn't conform to the crystalline white of lighting. Everything looks primeval, like what we imagine museums at night, occult spaces of objects left to do what objects do when no ones looking. The museum seems closed, set in a forest. A warmth we usually enact through instagram filters or rose tinted glass. Like its the 90s. Covered in nostalgia. Now everything looks like porn, bleached and depilated.

Saturday, October 27, 2018

Stuart Middleton at Carlos/Ishikawa


Which like metaphor for the wrangling of the image, of forcing it out, Middleton's investment in manhandling the image, often laborious, stop motion, animations, of banal, finger-tapping, plain scenarios, extinguishing cigarettes in piss, show effort, weird flex but okay, hauled off to market, labor, means, a beautiful cow. What is a cow but a technology for meat production, surely kin to art.

Cow too: Wilfredo Prieto at NoguerasBlanchardAleksandra Domanović at Tanya Leighton
Past: Mathis Altmann at Halle für Kunst LüneburgMathis Altmann at Freedman Fitzpatrick

"The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. Housing replaces houses replaces house distinct from home, which is bombed out. The model encapsulates this world governed by virtual features, the planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in."

See too: Mathis Altmann at Halle für Kunst Lüneburg, Mathis Altmann at Freedman Fitzpatrick

Friday, October 26, 2018

Aki Kondo at ShugoArts


All we want is something painted. The ostensible white language of plainness is actually easy means to see the difference, what we're looking for anyway, the subject of painter rendered in the glass they see the object through, the errors of their mis-seeing. No one thinks bananas look like this, but a question of what was finished enough for acceptability here. See the flaws in the glass of another's eyes.

Thursday, October 25, 2018

Sara Greenberger Rafferty at Rachel Uffner


The need to rephysicalize the image, cut it from an ether that can edition itself, and instead localize it in a "unique object." It's a strange feature that you can endlessly multiply images of your world but you can't multiply gold. Glass printing valorizing the reference's assets, realizing profits. The world is dissolving anyway why not let it sink into its image.

Wednesday, October 24, 2018

“Various Others” at Deborah Schamoni


Another Condo. You get to see other artists in a different space, which stands in for excitement. As a promotion machine it makes some sense, arranging a mass effort which garners some publicity, new sights, fresh air, collectors. If the gallery is a stop on the procession to history, legitimacy is an agreement between accredited actors. The fair may have accredited but, competitive, undermined the agreeable contract of networked legitimacy. We could just send artists anywhere and watermark their images with our, this different, architecture, our signature.

Tuesday, October 23, 2018

Christine Wang at Nagel Draxler Kabinett


Stated aggressively but not necessarily pointedly at clear meaning, an irony that confuses instead of reneges. Their dripping disgust with an almost self-harm cruelty is also an earnestness in moral dubiety. What do these things mean, is of course the question every painting asks, these just do a lot more explicitly, ambiguously. Do I want a threesome with the Winklvii? Wouldn't it be nice to be rich, to have made it to the moon on Bitcoin? Is my now desire for threesome with the Winklvii merely a symptom, hoping for some relief from anxiety of capitalist precarity, their big arms? The questions come embedded in the image. The world, surely, is fucked. The newspaper is a surrealist device, atrocity competing with diamond ads. Against the majority of juxtapositional surrealists operating today who find themselves content in jumbling signs for subconscious irruption, these hand you the pile of garbage and ask you to find help in untangling it.

Monday, October 22, 2018

“The Vitalist Economy of Painting” at Galerie Neu


The painting we all think needs some championing, some explaining. The pr retracts the title's seeming promotion of vitalism. In fact rightly says “The problem with vitalistic scenarios is their total failure to take the influence of external social and economic factors into account." and "proves to be mere wishful thinking, albeit a form of wishful thinking that is hugely appealing." Yet we get this, the artists in this exhibition don't so much do vitalism so much as do the usual "subvert them, retract them, or carry them to absurd lengths".  The attached booklet too reading more like a J Peterman catalog of art-patter copy to get you to buy than providing any further insight, blurbs about your a painting with an accredited art historian. Maybe the coming book has more. A sort of buy my book and this art too type of exhibition. Did any of these painters need critical help? Why do we treat painting with kid's gloves, art historians so kind to painting? Couldn't these paintings take a bit more cutting? Their market success on abusing vitalist premise that we hide under a security blanked called criticality, that there may be no real subversions, retraction, or absurdification only a gesture at it.

Click: “Painting: Now & Forever, Part III” at Greene Naftali & Matthew Marks

Saturday, October 20, 2018

Ivy Haldeman at Downs & Ross


The sexy hotdogs, as a friend said, but there's no hotdogs here. Yet the sex remains, latently.  Oldenburg innuendo slicked to the surface, in the stroke of the brush we could call lascivious. The same strokes that delineated super hero breasts comicly. In latex suits forming questions other comic artists posed as, "Is Amazon Girl's super power the ability to squeeze that figure into that suit?" Squeeze that meat into that casing. Besides a few hands, here the meat is removed, only the surface remains. The move from painting products to business suits perhaps stating an equivalent that's uncomfortable. Is the suit the product, or a surface of sex that sells? Or, maybe hotdogs weren't selling that well. "Our focus is on incremental volumes and mix improvements coming from new products." Because these are products. Eventually, the question of fitting into suits is answered with the perhaps empowering, "Nah, they can all do that."

Friday, October 19, 2018

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 gender possibility, blushing blues and corpulent pinks."

Past: Martin Soto Climent at Michael Benevento & Yuji Agematsu at The Power StationMartín Soto Climent at Proyectos MonclovaMartín Soto Climent at DREIMartin Soto Climent at Atlantis

Judith Eisler at Casey Kaplan


A critique toward the pre-loading your brush with content, forcing its representing the priorly ordained, would seem unfair against today's every other painter evacuating it - though Richter and Tuymans bleeding out of their images content despite it, might provide the real answer to content re-presentation. And the PR's dance around the issue of this recycling - can't you just wait for a writer to invoke Hito Steyrl's "In Defense of the Poor Image" about these - instead rams that the point is the paint, whether to ward off any conceptual jabber or maybe bait it in review hard to tell. "Eisler questions whether light is a substance or a process." which weirdly enough is exactly a Quora question you can read click here. A weird worry that art is asking questions that science is answering. Which maybe is why we're asked to look instead at the paint that culture values in these.

See too: Luc Tuymans at David Zwirner

Thursday, October 18, 2018

Past:  Claire Fontaine

"People hate Fontaine. It's easy to see why, and a particularly searing example by Chris Wiley for Frieze (e.g. 'I also consider the mealy-mouthed, jargon-besotted forms of this political position’s promulgation – utilized by the editors of Tiqqun, Fontaine and others – an impediment to reasoned debates surrounding political change, as well as a crime against language' a single sentence in an unending screed against the work) is the front and first review of one of Fontaine's gallery's press packet on the artists. "

Simon Dybbroe Møller at CAC Vilnius


Like a less stupid Bader, a less virally aggressive Wolfson. There is a surrealism undercurrent in the world turned into an image. You can kind of tease it, the world. Make it do things. Sort of tickle it into laughter. A running gag.

Tuesday, October 16, 2018

Sam Falls at 303 Gallery


The whole premise of "process-based abstraction"'s ability to create souvenirs of experience you didn't have is premised on some vestigial trait  of conceptual that may never have existed. I.e. does On Kawara painting "January 22nd 1988" on canvas actually mean anything outside a finger toward it.  Does an artist in the forest placing native plants on a canvas actually contain its sound? What information is stored? The signifier does not actually contain its signified, I thought we understood that. No cares seems to care where the canvas is wove, where the pigment is made; no we only care for the image which ostensibly means something, stupidly. Both "index" their world, other artists.

Monday, October 15, 2018

Stan VanDerBeek at DOCUMENT


A photo of a projector. Two photos actually, of 19. While a video is provided, the photos are an assertion of your missing something, even of the object we usually ignore. An object photographed as totem to the distance between you and what you clicked to see.
Past: Pope.L

"but the joke dissipates 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..."

Jasper Marsalis at Svetlana

A sort of scuzz painting. Skins like cigarettes clinging Guston lips. Brush strokes congealed. Drawing that heals like a scab. We love paint, not painting, and the trick is to get the paint on the canvas without the absurdity of "painting" and the brushstrokes that denote it, and so Marsalis seems to paint it with sticks, mold it like Kristevan flesh, like detritus, like eye goo.

Saturday, October 13, 2018

Past: Sam Anderson at Rowhouse Project

"There is rarely an object of Anderson's we don't look down at, that you don't watch where you step, a presentation whose, like early Wilkes or Aran's tables, dust settled marks this instance and foreboding its wind. A little dog rolling over exposing belly's soft pink skin veiling easily destroyed guts." There is a fragility.

Click for full: Sam Anderson at Rowhouse Project

Friday, October 12, 2018

Channa Horwitz at Ghebaly Gallery


It's maybe treating the arbitrary with such taut thin lines, with laborious specificity to chart chance - "aleatory openness" - in cryptography the sampling of physical phenomena is required for true random number generation. Noise. Which are charted in webs of delicacy. That information look. Corrections in the margins underscoring, by acknowledging the flaws pointing towards, the ideal they aspire to, that there even is an ideal, however far from it, even if irrational.

Thursday, October 11, 2018

Michael E. Smith at Atlantis


A google search says no one has used to word tumor in any online writing about Smith. Which seems odd, his objects seem awfully affected by a lot of weird malignant lumps, red dots, growths on institution and inflated with resin crusts. Teratomas are a specific type of tumor composed of tissues not normally present at the site, the classic hair and teeth twin in your tummy. You can google pictures of these, they actually look a lot like Smith's more "bodily" objects. Of growths without cause, find a potato in our eye, a DNA corruption, the "categorically promiscuous" things sliding into new subjects like bare knees across asphalt, so that black tar is becoming-blood, and knees ground becoming-asphalt. You can move between categories, your body could become alligator skin, claws inside you.

Michael E. Smith at 500 Capp Street FoundationMichael E. Smith at Sculpture CenterMichael E. Smith at Michael BeneventoMichael E. Smith at ZeroMichael E. Smith at LuluMichael E. Smith at Susanne Hilberry
Past: Michael E. Smith

"Bodily violence, its threat (a body to become goo as any other) is implicit to a work that treats materials as categorically promiscuous (surreal), e.g. if you can put Mario in the gallery sky or ocean's puffer fish under the table's summer sky, inflate them like footballs with whale ears, aren't you as wiling to place skulls at your knees. The disregard for the categorical order is like gore, crushing bodies."

"You can never be certain you've seen all the butterflies, their artwork is everywhere."

"This destabilizing of our ability to conceptualize the objects in equitable terms to exchange with one another (eroding the semio-substrate with which our exchange is based) breaching a distrust, is its sinister quality."

Click for full: Michael E. Smith at 500 Capp Street Foundation, Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry

Wednesday, October 10, 2018

“Impulse Control” at Freedman Fitzpatrick


an excess of content, dripping with it. titillation. touching the things we're not to speak of in company. One would like to think of art as a repository of such, but the rarity of these exhibitions says otherwise.
Past: Thomas Bayrle

Wading through repetition of criticism that bogs Bayrle produces the same repetition fatigue of the paintings, trying to extract endless allegory out a single metaphor. [...] expecting mechanization to ensure repetitive homogeneity, instead an endless individuation, the paintings do contain some abhorrence befitting the current situation, "It’s what Bayrle calls the quality of quantity, or the process of making pure quantity into a quality."

Click for full: Thomas Bayrle at dépendanceThomas Bayrle at Institute of Contemporary Art Miami

Tuesday, October 9, 2018

Julien Bismuth at Parisa Kind


The PR would have you believe that Bismuth is painting faces into the inkblot patterns, adding a layer of personal subjectivity that we could construe as "meaning" rather than arbitrary symmetries. The symmetry we've all but been proven to find attractive and alluring and thus their inscutability matters none, we are attracted to something that can never provide the release of information instead only decoration. And while there may be information encoded in the whorls a fingerprint can only be indentified, it cannot tell you anything about its finger, this is a only a lure, to design a blankness we desire. A serviceable PR.
Past: Michaela Eichwald

"make true atrociousness palatable, fecal umbers into gastro-figuratives of the stomach churning they induce..."" poured onto pleather paint flourishes implication: painters are smearing their own oily expelleds.  Like graffiti's intestinal signatures defecating their authorial. Looking at art doesn't work if you have to take a piss, its magic is ruined by a heavy bag, so that when you try conceptualize art with your head you're still reminded of your bowel held waste, the brown rope tethering us to earth that Eichwald seems to consistently paint."

Click for full: Michaela Eichwald at SilberkuppeMichaela Eichwald at Maureen Paley

Monday, October 8, 2018

Aaron Garber-Maikovska at High Art


An alchemical blend of "dance, tai chi, sign language, and obsessive compulsive disorder" would seem a question the PR tries to answer of why they look just like "Cy Twombly, Joan Mitchell, and Brice Marden" a look that could be said to "situate his work within recognizable trajectories of abstraction," but that "it is not necessarily about borrowed legitimacy" - having now amassed the most common criticisms (besides markets we don't speak of) that many have stockpiled as problems against these- but then offering the solution: that these suggest that "for all the codification that takes place in culture, the essential lies in and just beyond our finger tips, in and beyond language, in the incommunicable." It's an interesting challenge to attempt their defense.

Saturday, October 6, 2018

Monika Sosnowska at Gisela Capitain


Totemizing wreckage as an ostensible reworking of trauma - or as the PR calls it, "poetic metaphor" for artifactual images of the "place's" political and social ideologies, remnant of the politics that wrought them  - would feel a bit more genuine if it wasn't so aestheticized by what we could call "the big shiny": its auto-declaration as Art, a gloss and arrangement that no one could mistake. Something had started to call it ruin porn, a stylized violence, like they actually ship the wreckage of 9/11 around to be gawked at, souvenirs of cruelty or imperialism, and often aestheticized. These you get to project your own fantasy disaster movie scene into.

Friday, October 5, 2018

Past: Julia Rommel at Overduin & Co.Mathew Cerletty & Julia Rommel at STANDARD (OSLO)

"A system of indexes parading painting's material as flesh flaunted, the overt material presence is at the same time excused by the "accidental," the means of composition providing reason for the material to be there, i.e. they're artifacts of a process so we're not reading into the color field emotions of the capital P Painter (of say Marden, Diebenkorn, Rothko) but as the residuals of painting's means which provides relief from capital M Meaning (Parino, Hesse), the great relief of things just being, or trying their hardest to."

"and so Rommel makes the object structurally flaunt itself, give paint a stage upon which to display itself, paint, stripped and naked before us"

Click: Julia Rommel at Overduin & Co. Mathew Cerletty & Julia Rommel at STANDARD (OSLO)

Thursday, October 4, 2018

Fernanda Gomes at Museo Jumex


A series of decisions. Decision which prove intention, intention which becomes a perfume dispersing to all corners of the space. Our noses grow tired of perfume, of rooms, but this has a refresh rate: further and further compositionalizing the room into smaller and smaller sections, fractals, shrinking like that incredible man who finally tiny dissolves into the fabric of the space, everything becomes part of it, the space is "activated," and we are greeted to a total feng shui, everything has been touched. Everyone comments on Gomes's monochromism, painting stuff white, but really they're just seeing mirrors reflecting the walls.

See too: Oscar Tuazon at Le Consortium & Paradise Garage

Tuesday, October 2, 2018

Ed Atkins at dépendance


"Members." A constituent, "a person, animal, or plant belonging to a particular group." or a "a part or organ of the body, especially a limb." Or, say, dismembered, cropped. Clip you like foreskins or fingernails, or your fingers, your legs under artistic amputation. But you can also be euphemized, your body metaphorized out from under you. As an innuendo, mistake your lumps for a phallus, say call you a dickhead, make you look like a member.  We could turn you into a statistic, a cancer rate.  We could say he is nice. We could make you into a joke.

Keith Farquhar at Cabinet


It's about the latent. Like the trojan horse hiding in men's bicycle shorts armed to possibly hurt you from darkness. Looking like an IKEA catalog of art seems the point, cause crappiness is kind of the point.. "They dramatise an existential threat to notions of artistic sovereignty." Creep is "the tendency of a solid material to slowly move or deform permanently under the influence of stresses." But creep is also a man with his penis out under bike shorts. Things become embedded with connotation like a gym locker room is embedded with naked men. Conceptual austerity becomes filthy-with. Like content that can be applied, sticky. Clung to Chris Wool, like you peeled it off it. How children are sticky, their plastic like grime accumulators. Wood to absorb ass sweat. Symbols filled with things to gag you with. Cardboard like a sloughed flesh for transit. Thing "used," or going to be used. Things creep, and there is prevailing undercurrent of sex, perhaps "buggery," that runs under the work, like a goo spread.

Sunday, September 30, 2018

“Splendor Solis” at The Approach


There's a sort of funny documentation choice, Bosmans' paintings in one photo are in the next photoshop erased to leave the wall behind them, the light doesn't change. It's a small decision mildly touching on the artificiality of our cartoon conditions, reality able to be distressed, bent, stretched. The slow feeling of vertigo and stretch, a malleability we all permanently live under and probably why cartoons blitz across art as the world begins to feel more like them, and we look for things representative of it. Even if the paintings were actually physically moved, it would have taken less time to have be in done what they call "post," after, do things to a moment after it has taken place.

Saturday, September 29, 2018

Jaya Howey at STANDARD (OSLO)


Howey painting about painter's mental health for some time, the last Bureau a painter crippled and frozen by his/our cage. "Music on headphones will be allowed further into the semester." Maximally untranscendent paintings. That they're even using paint, thickly, seems an ironic defeated gesture, attempting to regain the pleasure, or capital, of "painting" from things designed on screens, cut on plotters and pasted down before mindlessly spread with paint, the "painting" already finalized before paints even opened.
"Laughter is used as a defense mechanism used to guard against overwhelming anxiety. Laughter often diminishes the suffering associated with a traumatic event." "This nervous laughter is not true laughter, but an expression of tension and anxiety."
seems basically the way these work. Though the desire to not become entangled as therapist or sympathizer to Howey's plight would perhaps make the mistake that half of paintings from the last 200 years has been artists trying to toss their baggage onto your back. Rothko with a cold bucket of darkness for you to carry. We could provide some sort of talking cure, lay these paintings on the couch, endlessly expound a psychological profile, develop an emotional game-plan, and send them out the door better than they came in but then we wouldn't have Rothko. Anyway, Step 5. "Avoid anonymous, disembodied and profoundly hopeless forms of self-expression."

Friday, September 28, 2018

Past: Fiona Connor at Modern Art

"There is lives, jobs, wants, wishes, desires attached to a board..."

Click full: Fiona Connor at Modern Art

Thursday, September 27, 2018

Shana Moulton at Gregor Staiger


Equating our investment in the celestial power of "self-care" with primitive digital effects would seem to be mocking both: a particularly pleasurable bath delivers the only the filter of Google's Deep Dream, a yoga practice against belly distension births a green screened moon to the heavens. The effects are child-like, naive like the character, and require suspension of disbelief. This seems the point, any skepticism towards crystal effects, video or holistic, might render them moot. You've got to actively believe for the things to have effect, a placebo effect like a Disney ending: the point was the power was inside you all along if you just believed the pill would. The placebo effect so strong in the US that drug manufactures have difficulty time creating new painkillers that are stronger than sugar pills. The effect is not seen in Europe, or pretty much any where that does not allow pharma advertising. That this mass inculcation might be the strongest effect of all, like we're all living in a theater in mass suspension because thats what gets the crystals like art to work.

See too: Shana Moulton at Kunsthaus Glarus
 Past: Shana Moulton at Kunsthaus Glarus

"humor in our contradictions, in our desperation searching for spiritual value in commodic life, for authenticity, or comfort, or "magic" technologies all juxtaposed with the day's small tragedy turning over a can of beans to read its ingredients"

"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"

Click full: Shana Moulton at Kunsthaus Glarus

Wednesday, September 26, 2018

Sanya Kantarovsky at Kunsthalle Basel


10 images. Of which 7 installation views, 2 photos of paintings on walls straight, and one promotional still from a movie yet to play. Kunsthalle Basel has always been pretty miserly with their images, but this is a new low. The old low is 11 images acting as documentation but mainly just letting you know it happened through the window you have your faced pressed up to look in on. They come in a packet on the website marked "Press images." Like we we've glued are lips to promotional pamphlets.

see too: Sanya Kantarovsky at Marc FoxxJoanne Greenbaum at CroneVittorio Brodmann at Halle Für Kunst LüneburgHeather Guertin at Brennan & Griffin,
Past: Sanya Kantarovsky

"[Sontag's] sentence already feels antiquated, painting today prerequistely stylized with the past worn as its own sleeve. There isn’t a painting today not “stylized” with its own past instance, that doesn’t dress itself in it. Kantarovsky doesn’t treat style as symbolic fashion to be worn, but merely the water one swims in today, the status quo for an art submerged in the redirection of flows of “content.” That some could be mistaken for a Kai Althoff matters less than none, the difference is ideological, one cold one warm."

Tuesday, September 25, 2018

B. Wurtz at Metro Pictures


That despite cheapness, a care that is fastidious. Like a mother combing her child's hair, a job well done. It's picture day. Not fussy. Mildly doting. but mostly, sympathetic. Wurtz seems sympathetic to his materials, even sanding to round the corners of cheap wood, like polishing a pair of meager shoes. Not all artists are sympathetic to their objects. Most use material for scorching stabbing churned molding into the god-whims of their creator hands. What little fascists most artists are. It's picture day.

See too: Paul P., B. Wurtz at Cooper ColeB. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)
Past: Vincent Fecteau at greengrassi

"Notice your body shifting from exterior to interior, your lips, eyes, anus, ears, urethral opening, these twilight moments rolling into. Fecteau's like architectural navels, the "complicated pockets" like ears or industrial labia. They resemble, brandish resemblance, which morph in sinuous exterior/interior unsecured. They twist in on themselves like an ouroboric muscle car. Like cutting open your abdomen to reveal a cathedral. These turns are important, they mirror our body's soft points, the vulnerable pink cusps..."

Past: Vincent Fecteau at greengrassi

Monday, September 24, 2018

Than Hussein Clark at Crèvecoeur


What would it mean if your face went baroque? Grew extra decoration, an excess of facial ornament, a sinuous nose, maybe a second or third nose, a face rippling and exuberant, an excess of face, your eyes like twisted columns, 64 floral teeth, a rococo face, a visage replete with flourishes. verb, to baroque something, a surfeit of something. That's sorta Clark's modernism.
Past: Judith Hopf at MuseionJudith Hopf at kaufmann repetto

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

Click: Judith Hopf at Museion, Judith Hopf at kaufmann repetto
Past: Than Hussein Clark

Staged theatrically, their vacancy becomes strength, hollowness holding a surface for eyes to move and containing whatever importance the narrative can attribute it.

Sunday, September 23, 2018

Ken Kagami at Parco Museum Ikebukuro


Stupidity becomes the vernacular of a world that is so saturated by it, we are awash in it, berated with it, nor innocent of it. Stupidity is to comedy what holding your breath is to drug expanding consciousness, practiced by primitive schoolyard psychonauts. Stupidity cannot be advanced through elegance or profundity, and 3 Standard Stoppages eventually evolves this raft of cranial blockages, an aspect MoMA says "to display the inherent indeterminacy of life." Indeterminacy sorta like stupidity, the big irrationality. Picasso in his underpants. And one way to feel better about the stupidity of the world is be the one enacting it. Allowing yourself to feel at the helm, in control of the thing that berates. "Everyone in the world is acting smarter than me" is a more comforting blanket than what is likely our own opinions on bell curves and self ranking.  Autoasphyxiation is a common childhood game, and we'd like to believe the stupidity that paddles us stayed those children as well. But the PR assures us that the artist is an adult. It states,"Ken Kagami is an adult." but qualifies this: "but one who has achieved and maintains a childlike sense of mischief and cynicism via the practice of art."  But this is a lie to make us feel better, like he's only play acting, like we're safe, like the adults at the helm are acting rational. It should have just said, "Ken Kagami is an adult."

Saturday, September 22, 2018

FRONT Triennial


Bigness itself qualifies press, attention, views. And so we invent fairs, biennials, whatever things stand in for bright neon of Artworld's next Las Vegas in new lands to hopefully Luxor hotel their place on the map. Beam me up, spot the fish to bite. Or something along those lines. I wonder what the rate for click through for all the images is, though there's not even that many here for an exhibition across 30 locations and and multiple cities. The exhibition's CAD Tags are longer than the Press Release. It should be noted CAD has an amazing amount of data on its hands, probably valuable, saleable, data. But maybe it's just depressing data. The amount of time spent on images in fractions of seconds, the amount of images even looked at listed in single digits. When someone clicks through to an exhibition, what do you think is the average number of images actually clicked through? Supplying the entirety doesn't matter, just the cream to be skimmed. There's 111 artists listed in the exhibition pamphlet, only 72 tagged here, and about 80 images. Ouch.

Friday, September 21, 2018

Charline von Heyl at Petzel, Deichtorhallen

(Petzel, Deichtorhallen)

No longer devotionals of ab-ex maybe not only because they draw from advertising and cultural chutzpa at large, but because they are dishonest. The impressionist showed the strokes that the Academy would have buffed, and winning the historical argument paintings ever since have performed this honesty as Truth. Which these don't suggest any cathedral of Truth. Instead just sorta flip-out, covering and masquerading a can-can, like a painting in slow state of clonic seizure, and gesticulation as a sort of cerebral-visual paradox, optical illusion, disguise. What Kelsey called Big Joy could also be a state of mania, or anxious outburst, like seeing your friend on amphetamines and wondering what about his personality you liked in the first place. Abstraction is the friend in this metaphor. Because these paintings are brutal. I keep coming back to their somehow relation to the FEED, to the anxious state of transitionary image, of scrolling. "painterly recognition that is particular, depleting, and manic." People love these and I could stop talking about them if someone would write that their praise, that what we are all enjoying, is the delirious feeling of being struck in the face with air. Your eyes are a pillow and these things like fists.

See too: Charline von Heyl at Gisela CapitainCharline von Heyl at Capitain Petzel