Saturday, August 18, 2018

3 Shows, Julia Scher at DREI, Lin May Saeed at Studio Voltaire, Fernando Palma Rodriguez at House of Gaga


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The security camera, early exemplar of the our proprioception lost to digital realms as your body could be distended in mirrors that could be sent through ethers, appearing before you, behind you, Magritte's Not to be Reproduced no longer surreal but our reality, walking into department stores. On facebook you reach out to poke, instagram click to like, your body a ghost appearing in other's mirrors. You appear everywhere. Like deafferented monkeys in lab experiments we lose control of limbs at the researcher doing studies on our psyche attempting to maximize engagement, a word which now means clicks, their hands in our gloves. Animals living with open brains.

Animals in environments degraded by plastics, EPS, Styrofoam. We with some idea rolling around in our heads about how long these foams last, largely abstract, largely uncertain, a million or a mere ten thousand years, the foam will persist longer than paintings. In the presence of light it very quickly experiences photodegradation breaking down into a powdery substance that will chemically persist in the lungs and bloodstream of animals moving up the food chain. A fragile body, naive, that requires our protection. Sculptures which if improperly cared for become time bombs of their environmental toxicity, careful with them, leaching chemical into the fish they depict carefully, a preciousness we must protect.

The deranged mechanicals. Robots acting stupidly, uncaringly. A world we've designed as such. See the video here. Motors are dangerous, they are inhuman, lose track of where your body is, get your hand caught, its inability to discern the softness of flesh air you experience a rapid what is called degloving.
Past: Lin May Saeed at Jacky Strenz

"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss"


Full: Lin May Saeed at Jacky Strenz

AR: Juliette Blightman at Fine Arts, Sydney



Artist: Juliette Blightman
Venue: Fine Arts, Sydney
Originally Posted: January 11th, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Friday, August 17, 2018

Group Show at Witte de With


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It was nice of them to include not one but two photos of the 3D glasses. A hook to hang your FOMO around, proving the virtuality of your experience with glasses you cannot don. Most art experience is at least vaguely similar to IRL, visual snapshots taken by meat cams. But taking a photo of the thing you could have physically grasped exposed the glass between you and its object. And doubly strange since the glasses should allow for the virtual experience you also can't touch, en abyme our relation to images falls further and further into abyss of distended frames mirroring.

Wednesday, August 15, 2018

Andrea Bowers at Capitain Petzel


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Surely the protest sign is a means of a populace's ability to steal back the language of advertising for its own self generally subaltern to the messages that those in power have the ability to broadcast at volumes stuporous. No one likes advertising, the brusqueness of messages to amplify through clipping of thought, but the protest sign attempts to recoup a voice that has been disenfranchised by a powerful who can drone it out with turn a monied knob. The protest sign requires streets and people to amplify. When it already has all the coronating volume of white walls and press packets and being sold in a blue chip gallery as a commodity it may no longer be protest sign.


 Peter Fend at Embajada
Past: Pilvi Takala at Centre for Contemporary Arts

"...children given fantastical power faced with the continually dwindling possibilities of real. A child's unfathomable wealth, 7000£, quickly grinding down, halting the committee at the realization of its limits: One child equates the once impossible amount to a mere 7 iPhones. The fantastic cannot be realized.  It's not enough for everyone. Unfazed several children move quickly through history proposing different schemes to generate profits with websites and business models (already envisioning themselves receiving discounts on fees) to sustain their wants, and the whole thing moving from open possibility to well-trod territory with a patterned timing. Watching the death of the possible in people so young raises questions of whether this is simply precocious social replication of the status quo, or whether capitalism is just natural to us..."



click: Pilvi Takala at Centre for Contemporary Arts

AR: Amy Lien and Enzo Camacho at 47 Canal


Artist: Amy Lien and Enzo Camacho
Venue: 47 Canal, New York
Originally Posted: February 2nd, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Tuesday, August 14, 2018

Peter Fend at Embajada


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Protest art is hot right now, museum footage turned over to it with populist ease. Who doesn't want to take down Elon Musk, the cartoon villain extrodinaire who painted himself green to hide the robotic machination of his hyper-capitalism, neoliberal as savior. Musk is dolt. It feels good to curse him. It feels good to send out the rhetorical curses of the protest sign's curtness. The retort of his loyal followers, "what have you done to compete?" always coming with the implicit understanding that one wants to do something, and further that one wants to do something that panders to markets deeming it marketable. How can one invest in getting Musk to stop? To take a break. How could we invest in shutting off the wheels for a day, and we could all go outside. The internet shuttered. The lights dimmed, the rare earths would stop being mined, iPhones depleting their charges, and the capital would be stored in whatever vaults they now use for dust. The fossils we burn as fuel could be temporarily cooled. We could stand blinkered at the sun we haven't seen. For a while, we could erect giant balloons, for the firefighters to watch the world be set afire. It feels good to take down, to erect fingers.

AR: Pope.L at What Pipeline



Artist: Pope.L
Venue: What Pipeline, Detroit
Originally Posted: October 10th, 2017
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Monday, August 13, 2018

Kate Newby, Daniel Rios Rodriguez at Nicelle Beauchene


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Both's attention to naturalism, to the brown you may have noticed in stores having enveloped our packaging to stand for its green, the ecological concern signified by "brown." And "Natural" you may also have noticed has no FDA governance and can be, without recourse, stated about things like gasoline and high-fructose corn syrup, maybe steel nails. Natural, like nature, creates a negative distinction, we are said to go out "into nature" to pretend we are distinct from it, to pretend there worlds distinct from mankind. Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, West Elm mass producing it, in attempt to reclaim some authentic experience separate from the glass we touch all day in pocket. But the glass like the gallery can bring us anything, it appears on screen, in white fields, in front of you, your touch of nature, your finger grease smeared on it.


Kate Newby at Kunsthalle WienDaniel Rios Rodriguez at LuluN. Dash at Casey Kaplan

Sunday, August 12, 2018

“Unexchangable” at Wiels


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Long discussed as ironic kitsch - literally: "These are some of the worst paintings you will ever see" Searle - Shaw's thrift store finds have been slowly encroached by contemporary painting circling it. See "“Pharmacy for Idiots” at Rob Tufnell. Paintings' last five years seems close, if more proficient, to these vernacular imagists. The surrealism of today's painting mirrors the fact that any of the medium, in quantities vast enough, begins plotting points of the cultural unconscious. If you amass enough hand made images you begin so see dreams emerge. Painting, a virtual box that you fill with what you desire, but the desire is, if not caged, steered around themes that can be inferred by the collection circling around them. You can't see the pier but you can see the fish circling around them: the nude, Jesus, the phallus, pink things, us. Shaw's collection is like Wade Guyton's ostensible promise of printing our dreams, the conveyer of painting collecting like flypaper a civilization's subconscious. These are better much better most.


See too: Wade Guyton at Friedrich Petzel“Pharmacy for Idiots” at Rob TufnellTala Madani at David Kordansky

AR: Lutz Bacher at 3320 18th St



Artist: Lutz Bacher
Venue: 3320 18th St, San Francisco
Originally Posted: September 4th, 2017
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Saturday, August 11, 2018

AR: Ramaya Tegegne at VIS


Artist: Ramaya Tegegne
Venue: VIS, Hamburg
Originally Posted: July 6th, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Friday, August 10, 2018

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

Ser Serpas at LUMA Westbau


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Hoarding as a sort of extended compassion for the derelict neglected of culture, a sympathy moving to material itself that a world simply would like to rid itself of. Composing it into art objects becomes a blessing for sending the objects into the "heavenly" afterlife, a means of delivering them to the majority white institutions to get them to care for them in perpetuity. Hooking the hose from the expelling parts of our cultural body to the part that feeds, getting it to eat its underwear.


see too: Dylan Spaysky at Good WeatherDylan Spaysky at Clifton Benevento

Thursday, August 9, 2018

AR: “Mechanisms” at Wattis



Artists: Zarouhie Abdalian, Terry Atkinson, Lutz Bacher, Eva Barto, Neïl Beloufa, Patricia L. Boyd, Jay DeFeo, Trisha Donnelly, Harun Farocki, Richard Hamilton, Aaron Flint Jamison, Jacob Kassay, Garry Neill Kennedy, Louise Lawler, Park McArthur, Jean-Luc Moulène, Pope.L, Charlotte Posenenske, Cameron Rowland, Danh Vo

Venue: Wattis, San Francisco
Exhibition Title: Mechanisms
Originally Posted: February 4th, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Wednesday, August 8, 2018

Roger Hiorns at Faena Arts Center


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I'm tired of our body mocked. Not as cruel as women compared to meat, setting men next to machines bears a similar titillation in objectification. You, a machine, a corruption of the sublime, in repetition awe becomes bullying mocking the human for its meat. Stop this. We are but flesh objects, barely cognizant stupid creatures, morons in search of hope, and nailing us to crosses of our trash seems a brave act but it is impish, pornographic, unneeded. Are we not aware enough of our mortality? Young boys who will rust as any other. You oxidize, we take antioxidants. I rust. This isn't forcing hamlet to consider his skull but forcing him to consider his waste, hulking, of his culture. A brain at room temperature, horsepower.


see too: Erwin Wurm at Kunstmuseum WolfsburgGeumhyung Jeong at KLEMM’SVenice: Anne Imhof at German Pavilion


Past:Roger Hiorns

"The Jewel-crusted success of Hiorns' sulfate almost eclipsed the less fabulous concoctions-as-representations for the surfaced body. ...the goo and strata of flesh and bone, and the machinic body ejaculating foam at the mouth, Hiorns wild material divergence always expressed in dualities, steel and perfume, machine and foam, boy and fire, boy and gratuitously hulking aircraft engine, the bodily soft always set against its cold hard master, rigid and pliance, occasionally providing a mild erosion of that order, a strange and insistent fetish that we all seem to enjoy."




Roger Hiorns at ELI Beamlines Center, Roger Hiorns at Annet Gelink

AR: Faith Ringgold at Weiss Berlin


Artist: Faith Ringgold
Venue: Weiss Berlin
Originally Posted: May 21st, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Tuesday, August 7, 2018

Miho Dohi at Hagiwara Projects


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Sort of lovely against assemblage's vogue for the abject, bodily, Dohi's  like jewlery brazed from trash. Against assemblage's interest in serial speeds Dohi's seem attuned to individual, something so fungal about them, lichens atop autonomous crust. Against the current vogue for assemblage's absorption of all wounds, scrapes, and damage intentionally accumulated, feel fragile, like cripple ducklings we wish to care for because they can actually be wounded.

AR: Park McArthur at SFMOMA


Artist: Park McArthur
Venue: SFMOMA
Originally Posted: August 23rd, 2017
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Monday, August 6, 2018

Frances Stark at Gavin Brown


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You have to admit artists are grass to the hammering of cultural winds, growing sternly against it while sternly whipped with it.  So more text in space. The billboard space of advertising, of ad copy, of slogans, mottos, quips, of the ability to deliver a phrase into you. Clipped from its context, it floats, wafts with a sort of empty vigor. The blunt brunt of the advertorial, slapping you with words you can read, recognize, but fail their handshake of emotional resonance, whacked with a Whiffle bats, the lack of becomes its main force. The bathos of artistic text, failing, becomes the means of overcoming that hollow form of advertorial address by embodying it, deploying it for all its tragic cruel means.


clipped words: Matt Keegan, Kay Rosen at Grazer KunstvereinHanne Lippard, Nora Turato at Metro PicturesGene Beery at Shoot the LobsterKarl Holmqvist at Sant’Andrea de ScaphisSue Tompkins at Lisa CooleyJenny Holzer at Blenheim PalaceBarbara Kruger at Sprüth Magers Peter Fend at Essex StreetCAWD on FetishFrances Stark at Museum of Fine Arts BostonFrances Stark at Daniel Buchholz and Daniel Buchloz

Past: Frances Stark

"They're her own bedroom posters. Pay attention, its an outline of escape, subjectivity can conform to the vessel without losing its shape, or so Stark would wager."

Click: Frances Stark at Museum of Fine Arts BostonFrances Stark at Daniel Buchholz and Daniel Buchloz

Sunday, August 5, 2018

Joëlle Tuerlinckx at Centre International d’Arte et du Paysage


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"that explore the power of form to appear and disappear"apt to a current vogue - of which Tuerlinckx is a forebear - for the anxiety of stuff. The quantity of objecthood and Artwork and the its risk, once again in the history of art, for disappearance. Art vanishing from the retinal dissolving into concept wasn't enough. Now there's risk, fear, of the unauthenticated object. Mass produced or intentional, do and does not matter. A gleeful anxiety of teetering art over the brink of art just being stuff as any other, art into piles indiscriminate and question what separates authentic from artifice and watch the distinction melt, its just stuff that's not stuff or so.


Art into piles: Jason Dodge at Casey Kaplan“School of Chairs” at 500 Capp Street FoundationJoëlle Tuerlinckx at LLS PaleisDarren Bader at Sadie ColesMichael E. Smith at 500 Capp Street FoundationMartin Creed at Hauser & Wirth Somerset

Saturday, August 4, 2018

Past: Leidy Churchman at Koelnischer Kunstverein

"'Heterogeneity' in painting, the lack of identifiable style, of painterly identity, that has become increasingly common, shifting subjects, means and themes, we find still neurotic - still being mentioned in PR. It's conversant spectacle, finger to the viewer, who is asked to sort it out. This avoidance of identity, could be argued as an abdication of responsibility, but like the fish before left well enough alone, the distance asks for understanding that we aren't required to, and can't, know."


Leidy Churchman at Koelnischer Kunstverein
The groups shows this summer are more colorful, attractive, bouquets of disparate species of artists selected for the fact that they bloom, arranged by what looks good together. Ten years ago painters were all about irresponsibility, printing paintings, hands off, cold, calculated. Now look at us.

AR: Lu Yang at M Woods


Artist: Lu Yang
Venue: M Woods, Beijing
Originally Posted: February 1st, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Wednesday, August 1, 2018

Hanne Lippard, Nora Turato at Metro Pictures


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Lots of artists like to put phrases on signs, do it in a similar way. A particularly satisfying gesture: language, propelled with advertorial oomph, instead deadpans with its empty cymbal crash; be understand the words but, devoid of context feel a little haunted, disembodied, ghosts of something far. Like Lippard's audio work, we glean through archaeology of their words the character. But Turato's texts and her own performances gleefully amplify a schizophenic fracture through estrangement and affectual register shifts. Disallowing complete connection, we instead begin to feel its loss through ears numbed by corruption. The garbage of the "infosphere." In an era when everyone spends their time off creating protest signs against politicians having clipped the sound bite down to two word phrases, the fun of creating your own haunting version, headlines like haikus, is fun. Cut the ends off a sentence and be left with a poem.


words on walls: Matt Keegan, Kay Rosen at Grazer KunstvereinGene Beery at Shoot the LobsterKarl Holmqvist at Sant’Andrea de ScaphisSue Tompkins at Lisa CooleyJenny Holzer at Blenheim PalaceBarbara Kruger at Sprüth Magers Peter Fend at Essex StreetCAWD on Fetish


AR: Lucie Stahl at Freedman Fitzpatrick

Artist: Lucie Stahl
Venue: Cabinet, London
Originally Posted: March 3rd, 2018
Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

August Review 2018

Today we initiate our fourth annual August Review. Every year we reflect on the exhibitions that were especially memorable to us since the previous August. We will re-publish one show each day, marked by “AR:” in the title, while continuing to cover new exhibitions daily.
At the end of the month we will provide an “August Review Index.” The previous seasons’ selections are available here:
20152016, and 2017.