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 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.