Tuesday, February 27, 2018

Morag Keil at Jenny’s


(link)

Possibly the culmination of Jenny's program towards rendering the cloying dread of banality's final boss. It's not so much empty as toneless. Thus the hollow soundtrack. While at one end there's the renderstenialists whose tonal overabundance manicizes, say RoseHenrotProuvostAtkinsWolfson, at the other, this affectlessness of "clean" objects scrubbed to that everyday clean feeling of pleasurelessness. Think just how much tone you're subjected to in so much current art strapped into a chair, how well this show conjures without it. Banality isn't a word strong enough. Those particular door handles, the defining feature of cheap mass apartments. Nettel once left the dirty dishes out and has Keil washed them, put them away behind that brown door,  in each others apartments for their collaboration, "The Fascism of Everyday Life" forcing day to day drudgery's recognition, the things we care to forget, every one of us socialists but as roommates we don't share hot-sauce.
""Entering or exiting through a doorway serves as an 'event boundary' in the mind, which separates episodes of activity and files them away," said the lead researcher. "Recalling the decision or activity that was made in a different room is difficult because it has been compartmentalized.""
Our brains are haywired continuously, forced to deal with frizzing nonsense, cheap dishes and smart tvs, that old joke: "My work is inspired by [...] paintings so boring the human mind is incapable of remembering them, creating the impression that you are seeing them for the first time, everytime." Daily amnesia of us trying to remember our lives.



See too: Morag Keil at Real Fine Arts, Carissa Rodriguez at Wattis, Karl Holmqvist at Sant’Andrea de Scaphis