Thursday, July 19, 2018

Pamela Rosenkranz at Karma International


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As ostensible critique of pharmaceutical, technological and advertorial strategies, Rosenkranz deploys them to great affect in art, using their strategies in consolidating attention and maintaining lure over the viewer. The attractive pink, the technologic jargon. This exhibition showcases among other things "Anemine" "a new generation of medical products" that are synthesized chlorocruorins, oxygen-binding hemeproteins found in many annelids, manufactured green worm-blood essentially.* A portion of the afternoon googling substances, phylums, blood hemotypes, the only results for Anemine are Rosenkranz and a German electronic artist. Maybe Anemie really is that medically cutting edge, but noted about earlier of Rosenkranz by Abreu itself: the substances are often fictional, and Anemine appears an artistic bruhaha of long long line of products and "doctors" with liminal connections to good medicine, from InfoWars guy to Tom Brady's longtime personal trainer hawking products with vague but powerful claims. So long the as the promotion outspeeds due diligence the product will remain valid. And they are fun to say: NeuroSafe, Anthroplex, Brain Safe, Myco-ZX, TB12, Super Male Vitality, medical leeches, all seeming to counteract the very real issues of Atrazine and xenoestrogen, though Obama did not turn the "frickin' frogs gay." Look at the Bosch-like extraction of Horseshoe Crab blood chopped in half and bleeding out in dungeon apparatuses into jars for highly valuable medical technology, for blue blood, so it's not hard to imagine research extracting green worm blood for sport, and for an artist to get the good idea to make paintings with. "gives consumers a sensation of security: the less they understand the terms used to describe the product, the more reliable it seems, because it's at the cutting edge of technology." Horror film foreboding, green blooded insectoids, the large company willing to make money of its extraction, everything there for a real good narrative.


*Synthetic blood is currently being developed and has actually been created before, though though never approved for use anywhere outside of South Africa. A side effect was noted to be flatulence. 




See too: Nancy Lupo at Antenna SpaceNancy Lupo at Swiss Institute

Wednesday, July 18, 2018

Puppies Puppies at What Pipeline


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expression through other's forms, the works cited accounting its ideation board if not entirely readymades. In fashion we express through brand, we stand behind labels to represent our better selves. Express through cultural containers, languages of mass culture, and the subject dies metamorphosing into its branding, adorned in its collection. Behind a hostage of the forcibly public-domained. You get to disappear behind others'. A system of drag (drag as corporeal parasitization, cosplay) but too the dirty and cruel world of bodies forced to adopt the identity and means of the larger cultural empire that oversees it, i.e. Adorno’s conform or perish: and that there is a sadness at the base of PP’s comedy that involves the body adopting not its own subjectivity but the the larger culture's as its means of representation with the implicit and ostensible threat to not be seen at all. Purell evaporates leaving your hands covered in a vast wastelands of bacterial corpse.




see too: Puppies Puppies at BFA Boatos
Past: Puppies Puppies at BFA Boatos 

"Like oral traditions whose stories allowed modification to fit the moment’s ethos, PP’s unconsensual public domaining of intellectual properties proposes the, e.g., Chiquita banana as open source material. [...] using brand as pre-established content for its storytelling, inhabiting the corporate/commercial sign systems that have come to determine our world. Harry Potter is the new Iliad for better or worse...."


Tyler Coburn at Koenig & Clinton


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We somehow trained for emptiness. Animism, the occult, remote viewing - tools we take from other industries to make sense of the white walls before which shimmer in colored noise because we've been staring so long."too little signal, too much noise" the PR states. In noise we see ghosts. "Upton Sinclair was convinced that his second wife Mary had telepathic abilities" which seems like the intro to a sexist joke, but instead him attempting proof: experiments communicating drawings by mind 40 miles away. 22% accuracy. Here try this one out: I'm sending out what I really think about this show right now. Got it, didn't you? It was inside you all along.


See too: Yngve Holen at Fine Arts, SydneyEi Arakawa at Kunstverein Dusseldorf“Being Thing” at Centre International d’Arte et du Paysage & Treignac Projet

Monday, July 16, 2018

Marie Angeletti at Atlantis


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exacerbating all the annoyances of images today, Angeletti's are always claustrophobically opaque, too close, dim. Not quite sure Angeletti has ever shown in a completely lit space, and the once maybe had had lots of photos of rotational laser lighting, the sort of whirliwig mimicking the driftlessness of her own floating so contextless unanchored. There's an interest in the roving light. Without didactic we see Three Seascapes, possibly, but in another a didactic for painting we cannot see. Herbert saw it early: "If pre-existing, these photographs meant one thing in a catalogue, museum or wherever, and now they signify something else or, intrinsically, nothing at all: detached, rivulets in a larger directional flow. ‘Thanks, Internet,’ such work murmurs.because the work does feel like the internet, forced with lips glued to feed, like we all are. You can assemble the parts to de-crimescene what's on display here, or wait for the another writer to mutate to docent, to explain, but that'd be beside the point to be at a loss shuffling through image that Angeletti seems determined to maintain in limbo, contextless. The breadth of Angeletti's work looks like a google image search for a long string of arbitrary numbers, irrational, an array of the world's arranged by a search term we cannot see, which, in an era of almost total fuck-all of contextless images, our cognition is molested by daily could make an art practice mirroring such seem a brutal finger but at some point we have to be trained for this, we could attempt to make sense of, it all, if we wanted to start lifting.


Sunday, July 15, 2018

“Tour of the Artist’s House” at Reserve Ames


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The documentation becomes its own photographic art. On Reserve Ames own website the documentation is gray, but sent through other waters - CAD or Artforum say - they usually turn colors. A strategy preserving exclusivity. Now not even the pipes stain them. Ostensibly an exhibition as tour of the artists' home, the important part of the new documentation is that it is actually an announcement card.

Friday, July 13, 2018

Allison Katz at MIT List Visual Arts Center


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the two subjects to painting, the thing represented in paint and the artist-as-subject rendering both. Painterly "style" is the sediment of an individual's subjectivity accumulating in the granules of their decisions eventually garnering a pile: identity. Look through the glass of another's eyes to see their world through them. 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. Others have called them palindromic or Janus-like, expressing this anxiety over the mirror. An irritant in our lenses, the paintings.


Leidy Churchman at Koelnischer Kunstverein,
Past: Lucie Stahl at Halle Für Kunst LüneburgCabinet


"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."




Lucie Stahl at Cabinet, Lucie Stahl at Halle Für Kunst Lüneburg

Thursday, July 12, 2018

Past: Anne Neukamp at Greta Meert

"Our brains, wired for recognition, are berated with this: icons forcing recognition of themselves. Painters begin adopting this as their history, the magrittean version of objects as linguistic symbols. These paintings delay the force of recognition as a palliative, lessening the slap of apprehension.."


Anne Neukamp at Greta Meert

Elliott Jamal Robbins at Kai Matsumiya


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discombobulating the characters, Snow White and the black protagonist cultural antipodes, forced atop each other, its Disney surely dissonant with black male experience: a snippet plays stating that a lot of women were roused to voting early which would have felt reassuring then had we not later learned white women voted Trump. Sadness feeling most intense when there is nothing to be done with it, can't be channeled, and the depression of your body on the mattress becomes sinister cave, stuck to National Public Radio's days before the US election, an anachronism replayed in your head, is made worse in actually having the recording. Enough emotional dissonance eventually causing psychologic desensitization, feeling a lot like living slumber.

Monday, July 9, 2018

Ei Arakawa at Kunstverein Dusseldorf


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artwork's origin dates as astrologic charts, your level of trust in the celestially telling matters less than the overall strategy: turning an artwork to an interpretable state and blinking, tea leaf divination in sporty Vegas-odds inkblots. We're primed to see meaning in information, in art, particularly when so bright and shiny, and thus here's lots to be said about these works, interpretation to be done, they'll pour forth all you are willing to extract from them. Perfect analysands. Like the wacky inflatable arm man drawing eyes to dealerships, Arakawa understands the qualifiers for "art," performing them with wacky panache, theatricalizing the artwork as a caricature of attention, art played to show its now quite standardized set of rules.


See too: Ei Arakawa at Taka Ishii & Peter Halley at Modern ArtIan Rosen at The FinleyAnd so Quarterly has finally come to pass.

Sunday, July 8, 2018

“Water & Power” at The Underground Museum


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by which then us feeling art's critical function better at surviving commercial shipment while the spiritual arrives less intact. Like preachers made richer than the Gods they represent through the thankless loaning their congregation's credence, the Eliasson's "worth" for reinventing the funhouse as some sort of ecological imperative could beget an equal crisis of faith. Particularly when the package is the world outside set in a different box. A critique of any art surely. Maybe the wealthy preacher is just really good at what he does, attracting congregations. But somehow the spiritual should survive in commodification, everything else must. Seemingly why we gave up on it.

Saturday, July 7, 2018

Manuel Gnam at Noah Klink


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or the couple of Gnam's press releases invoking generational clashing and the cultural culling of those without political use make one wonder if these aren't, comedically enough, Gnam's attempts at proving himself a viable artistic candidate for cultural preservation. Which would make them funny. To think of these as attempts at cultural relevance. At some point we did adopt demands for art to prove its usefulness, possibly through the seepage of cultural theory into it, art was suddenly be extracted for some sort of insight we had, tautologically, proven was there. We believe in art's ability for insight into, well, something, that when the above is delivered to us, we choke on our inability to read it, we choke.
Past: Nina Beier at David Roberts Art FoundationKunstverein HamburgCroy Nielsen

"20th century Surrealism couldn’t have predicted how surreal the 21st would actually become. Like the floor on view here, the new virtuality of surface makes Magritte’s paintings a reality, a drag and drop images into the real..."

Click here for Nina Beier at David Roberts Art Foundation
Click here for Nina Beier at Kunstverein Hamburg
Click here for Nina Beier at Croy Nielsen

Friday, July 6, 2018

Ramaya Tegegne at VIS


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or that history is a process of consolidation, the enclosure of rectangles around its boxes, the eras vogues histories artists etc. the little territories as blanket of wares meaning Artistic turf that Tegegne attempts to keep frayed with discombobulated exhibitions of historical process's detritus, found appropriated and reproduced, as palliative against, or occasionally with, art's boxification - forcing what would be left behind in the move back into the box as her career.

Thursday, July 5, 2018

Glenn Ligon at Thomas Dane


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or that painting something white would restore it, return its virginal character, but talking of blackness as an accumulatory inescapable, occluding, the eclipse on legibility and meaning, but then in there, on it, the occlusion itself, blackness. I guess you could make the arguement that Ligon isn't once again destroying' the legibility of Baldwin's text but restoring it, bringing it back to its blank pure slate.


See too: Glenn Ligon at Regen Projects

Wednesday, July 4, 2018

Art Record

We all believe in arts' ability to supersede the market, to transubstantiate its commodity into a spirit, but realists too. You need to keep your objects separate from the order of the ordinary, of the things yours could suddenly disappear into, the earth, you need tracking, spreadsheets, the markers of provenance that govern the validity of art. So we've developed a product for those without a gallery to aid such immanent concerns extracted from theirs' celestial. Eventually a gallery will do this for you, but for now, adopt the future, dress for the job you want, tracking product, rep, failure, success with this handy - and award winning designed - tracker for what you value as your life, us too. 
-CAWD
(Sponsored)

Torbjørn Rødland at David Kordansky


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or meaning innuendo can only circle its prey for so long before we can infer its total, it is no longer suggestion but fully encircled into the arena of practice for a well thought circle or rut.


see too: Torbjørn Rødland at Air de Paris
Torbjørn Rødland at Henie-Onstad KunstsenterTorbjørn Rødland at Kunsthall Stavanger

Tuesday, July 3, 2018

Past: Torbjørn Rødland


"The PR’s refusal to acknowledge the sexual themes leaves the perverts guessing. Erotic coupling, miscegenation of binary masculine/feminine, phallic/soft. Everything touching, lightly.""...posing problems for categorical restrictors like the MPAA for which Rødland presents a real European nightmare, Most of the photos are G or PG but feel PG-13, and while the penis is R it’s the sneakers on the otherwise nude man that really require Parental Guidance."


Torbjørn Rødland at Air de Paris
Torbjørn Rødland at Henie-Onstad Kunstsenter
Torbjørn Rødland at Kunsthall Stavanger