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.