Monday, November 19, 2018

“Verlörung” at Art Berlin


Why not maximize the product, increase the wallspace into a complex, non-Euclidean like lettuce, a surface area excessive of space. Like lettuce. Make it baroque, grotesque, caricature of the exhibition. It's the same but more. Frilled with lettuce space. This is interesting, this is a cartoon, the one we live in, a maximization, like an efficiency, like an apartment, hoarded toward labyrinthian conditions, scraping everything we can get out of it, to make stone soup.
Past: Deana Lawson at Contemporary Art Museum St. Louis

"And not necessarily treating her subjects kindly, the best light remains Lawson's, photographic adeptness bending subjects to her. [...] These are what photographs live for, the construction of a subject, here a person. At least these curtains seem properly adhered."

Click to read full: Deana Lawson at Contemporary Art Museum St. Louis
Past: Anna Ostoya at Silberkuppe

"[The office paper shredder's] futurist and Sheeleresque overlay a quasi-destructive act that reviews of spend most space ignoring to tell you about the images buried because its usually easier to elucidate history than art."

click to read full: Anna Ostoya at Silberkuppe

Saturday, November 17, 2018

Leda Bourgogne, Ida Ekblad at Kunstverein Braunschweig


The excess physicality in painting, the scabs one end and wall vents on the other, perhaps because we're so beholden to virtual environs that we need a new harder visceral materiality to reach across screens, so we can feel like we're feeling something other than glass.

see too: Ida Ekblad at Herald St (2) Ida Ekblad at Max HetzlerIda Ekblad at Herald St (1)Tony Conrad's Glass
Past: Lutz Bacher

"If Bacher's theme of the erosion of the monument-as-sign's ability to mean isn't still apparent, the spamming of its images should make it: The semantic satiation of saying it again and again mirroring Bacher's interest in the loss, in its signification photocopied to death..." "into the noise of their granular flooring, synecdoches of stellar scales spilled across expanses like baseballs or sprawls of sand. Mountains dissolve in grains that resemble liquids in geologic time."

Read Full:
Lutz Bacher at 3320 18th St
Lutz Bacher at Daniel Buchholz (3)
Lutz Bacher at 356 Mission
Lutz Bacher at Statens Museum for Kunst
Lutz Bacher at Daniel Buchholz (2)
Lutz Bacher at Daniel Buchholz (1)
Past: Ida Ekblad

"Paint coagulates, a crust like Ekblad's Mr. Kellog's Cornflake Scab stuck to fine surfaces. Scabs are excess of bodily presence, we want to pick them, peel them from our elbows, remove the corpsing exuberant. It's itchy [...] Like Lasker's stupid strokes, a clownishness, an exaggeration of the painterly ... forcing painting to speak with a mouthful of bubble gum."

Click for full:Ida Ekblad at Herald St (2) Ida Ekblad at Max Hetzler, Ida Ekblad at Herald St (1)

Friday, November 16, 2018

Diamond Stingily at Freedman Fitzpatrick


The transition from handmade dolls to mass produced Teddy Bears had to be meaningful for the unconscious of humanity. All sorts of issues for what it would mean with children grown on loving sweatshop objects. Units of CareBears moved. To move you. Shouldn't the Toy Story characters speak Chinese? Dominant culture gets to force its cast to speak its language, dub them against their natural speaking voice, force adoption of its language. It's called localized for a market. It's called acting white. It's called "he's eloquent." called AAVE, a vernacular nonstandard but "equal." They surely will speak whatever when localized for market. Giving commodities to children so they learn to love their master. Because really they'd speak Mandarin. Klaus Biesenbach's apartment has nothing in it and is entirely white, which is a lie since minimalism is basically predicated on closeting the workers you're standing on, but we'll give him several architectural and NYT magazine spreads anyway, a new advancement in whitewash interiors. Because pretending the working body isn't there, pretending everything spontaneously generates on store shelves clean, without indentured sweat, is important to our culture. Corporate production gets so massive it takes pains to relocate itself, force adoption of itself, anything outside it gets the searchlight, brought back under eye that is pretended as benign with total market share, control.

see too: Melvin Edwards at Daniel BuchholzDiamond Stingily at Queer Thoughts

Wednesday, November 14, 2018

Han Bing at Night Gallery


Maybe what was so great about Richter's squeegee is proving that abstraction was asinine, it could abused. How maddeningly dumb it could still survive as. These are stated as not abstract since they from photographs of abstraction, and thus "evidence a tenuous balance"of getting cake and eating it, and looking like it, cake, too.
Past: Jutta Koether

"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..."

"what you're looking at isn't what you're looking at: what you're looking at is cultural baggage, garbage piling your sentience. It floating to the surface like diapers, the noise of signal and symbols. You can't see purely, you are clogged with reference."

Tuesday, November 13, 2018

Lucy Dodd at Sprüth Magers


reminiscent Amanda Ross-Ho's big-ass tie-dye T-shirts - the cosmic/comical scale of psychedelia amped. Into sizes everyone has to mention in reviews. And Anicka Yi's antidepressant and palm essence elixirs.  Elixir and kaleidoscopia spread across canvas to make a painting as potion for the "spiritual" that has returned so strongly and forces belief once again.

Monday, November 12, 2018

Augustas Serapinas at Basement Roma


The gallery's neighbor is pet groomer. And neighbors and previous tenants are sorta what Serapinas seems into, using neighbors. Past instances include a locksmith's keys melted into sauna buckets and curtain rings, as well as a neighbor's pen getting into into some bread. In behaved conceptual art fashion is engorges its signifiers with a vitality, allowing the life of writers and press to extrapolate until a blue that's on brand. But this exhibition is much funnier as a literal attempt at represenatational act, attempting to see through walls and well envision the neighbor that everyone writing think-pieces about how we are so disconnected from. A gallery exists next to a pet groomer. Wipe enough fat on the walls and eventually they becomes transparent. People like to see their neighbors in themselves.

Saturday, November 10, 2018

Past: Amy Lien and Enzo Camacho

"directly asked in the PR like a book club edition's questionnaires for sparking conversation and us looking to find answers, searching at all the beauty of totem poles."

Read full:

Friday, November 9, 2018

Gili Tal at Cabinet


the question of what outside your window could be less interesting than this. You draw the shade on the world just to be mocked by this, a curtain that won't let you escape banality. If the photos are by no means good, would it not be fault of the world they depict? It is your city that is ugly, and you should be forced to buy one of these as reminder that your castle not separate from. This mindset allowed for the suburbs, its devolution into ugliness, people moved in personalized containers, personal vehicles in trajectories to their big boxes sheltered, their home, their work, moved in submarines of personalized climate, protected in white walled towers. Curtains are a weak force against the world that these posit perhaps someday someone will invent something to break glass, and the world will flood in.

Modern Gothic is a mode or genre prevalent in Contemporary Art from the early 21st century to this day. Characteristics of Modern Gothic include the presence of banal, irrational, and transgressive thoughts, desires, and impulses; grotesque settings; dark humor, and an overall angst-ridden sense of alienation. While related to the Southern Gothic tradition, Modern Gothic is uniquely rooted in contemporary Capitalism's tensions and aberrations. During the 21st century, the everywhere-nowhere setting of today's post-industrial cities became “the principal region of Modern Gothic” in art. The Modern Gothic brings to light the extent to which the idyllic vision of the progressive, collectivized City rests on massive repressions of the region’s historical realities: capitalism, class, and patriarchy. Modern Gothic texts also mark a Marxist return of the alienated: the region’s historical realities take concrete forms in the city's banality of power structures that highlight all that has been unsaid in the official version of Modern history. Because of its dark and everyday subject matter, literary scholars and critics initially sought to discredit the gothic on a national level.

Modern Gothic: Morag Keil at Project Native InformantGeorgie Nettell at Lars FriedrichGeorgie Nettell at Reena SpaulingsGili Tal at Jenny’sWill Benedict at Overduin & Co., Merlin Carpenter at Overduin & Co.
Past: Gili Tal at Jenny’s

"The more pathetic and depressing aspects of commerce's reign are mirrored in Tal's reconstructions of it, like those half empty coolers, a lightness mimicking advertising's own getting closer to grim comedy alongside a press release from hell once again reminding us all of our relegation to capitalistic damnation..."

read full: Gili Tal at Jenny’s

Perhaps the worst of art is paying attention to artists circulating on, I guess, someone's dollar as an update to the bohemian-chic lifestyle we've been culturally fed as the artist's way now updated with easy first class tickets and diaspora of art centers all needing to be curated and shown the same art, the same names and everyone playing along at home from their TV screens which broadcasts the fantasies of their bohemia back at them.

See too: Ian Rosen at The FinleyIan Rosen at Kristina Kite186f Kepler at Contemporary Art Daily
"Clifton Palace," “Pho Viet Huong” "Vzszhhzz," "Astro 5," and "Tes Yeux" at 186f Kepler

Thursday, November 8, 2018

Past: 186f Kepler

"2015, 186f Kepler releases press stating the liquidation of informational categories as more closely resembling the aqueous system of art, and it’s true, the Field of Cultural Production now looks less like the rigid markets of symbolic goods and more like social systems of pedigree in which, as predicted by Deleuze, the postscript on society’s controls turns institutional interiors into dispersed system of self-policing and production, in which there no longer is an outside to market, your existence becomes the system of circulation for circles and scenes, seeking the endlessly theorized “network” of social capital. And here having CAD as your sandbox to immediately sediment your activity with visibility, you can do as little or much as desired, with enough accredited names attached you’ve got CAD to market your dispersion for you, becoming “of interest” simply by having been listed. 186f Kepler does in fact mirror and perform the social mechanism in which liquidation isn’t so much “escape” as marketing..."

Wednesday, November 7, 2018

Jacqueline Humphries at Modern Art


the more vulgar excesses of Humphries's paint always excused by its obliviousness to the demands of "making a painting." Humphries's almost without-composition but still composed, paintings like an accident, car or bed sheet. And these are readymade, the previous paintings reduxed with the latest deployment: ASCII printing. And so Humphries' drip, brushstroke, mark, neither expressive nor quotational of expression, paint is instead already perfectly dumb. This separates them from the hordes of zombies: no search for brains. Instead the cannibal-without-purpose seems pleasant after so many decades of painting's conceptual juicing. Like Richter whose painting exists in the netherworld of a stupid transcendence, instead just give us what we want, paint, flesh, dumbly.

see too: Jacqueline Humphries at Carnegie Museum of Art

Past: Henning Bohl

"Bohl is the indeterminate horror that knot guy fears."
as quoted in full the PR here

Past: Henning Bohl at What Pipeline, Henning Bohl at Karin Guenther
Past: Jacqueline Humphries at Carnegie Museum of Art

"The thin distinction of Humphries from the song and dance of all those other silver abstractionists is that the well worn jazz hands of "expression" aren't, for Humphries, totally choreographed yet by Dr. Frankenstein. While the corpse may have its fluids replaced in technicolor, paraded around in chromes and newfangled chemiluminescence, it's the activation of this new deployment of means, materials, not just silver paint but making the silver paint shine like candied yams."

Click for full: Jacqueline Humphries at Carnegie Museum of Art

Tuesday, November 6, 2018

Kerry James Marshall at David Zwirner


The paintings everyone's talking about because it's easier to talk about prices than art. That's the hegemony of price. It is the abstraction allowing exchange, both monetary and conversational. Everyone can talk about it, even if poorly.

see too: Kerry James Marshall at MOCA Los Angeles
Past: Kerstin BrätschKAYA
"Genzken the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects. And whereas others used this to produce "series," Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, amassing product and centering production as the point. That the production of itself became the product."

Adam Kleinman in TZK: "as many artists have learned to feed this desire with work made quickly, but with enough conceptual acrobatics to make them acceptable as part of a canon of their own oeuvre—or that of a supposed canon on the critique of modernity. And here, the artist has found a way not only to maximize the circulation of his/her work, but also to reduce the budget in terms of both time and materials—the original shady business of “skimming”, although one that is justifiable considering the low rate of artist fee’s. Within this particular loop, a potential critique of excess is ensnared as another symptom of that very excess. And it is with this dual farce of today’s production and related branding activities, namely the desire for the curator to collect and justify an artistic industry of prefab and ready-at-hand esoterics, that one should enjoy DAS INSTITUT’s irreverent something for everybody with a little for everyone approach."

"WHO says by 2020 depression will be the second most prevalent medical condition in the world. Rats pleasure themselves to death. ...use of beauty as a deployable assaultive thing, prolific- likely what critics refers to as the artist's "advertising strategies" - exhausting..."
Click here Kerstin Brätsch at Gio Marconi
Click here DAS INSTITÜT at Serpentine Gallery
Click here KAYA at Deborah Schamoni
Click here Kerstin Brätsch at Gavin Brown

Past: Alice Tippit at Night Club

"Between the anthropomorphic and the pareidolia is the seeing ghosts in images that contain a sort of liquid content, innuendo, form to the container-viewer"

See full: Alice Tippit at Night Club

Monday, November 5, 2018

Diane Simpson at Herald St


Simpson's is like watching objects preening for their digitalisation, become icons. Begin from "from flat printed matter, renderings of material culture discovered in used bookstores, university libraries, and online archives—pictures of medieval clothing, Art Deco patterns, or commercial packaging design." Which as our relationships between 2 and 3D, virtual space and physical space become ever more fraught, (see the ability of IKEA insistence on flat pack, alleviating the physicality of distance and reduce shipping to basically reign over low-end furniture) the details become hardcoded, organics are put into firm boxes, codified, cubicles, far easier to measure pack ship and thus virtualize, it of course feels apt to Simpson's resurgence today: that we enjoy our detached contemplation of our oppressor. We move real world problems into aesthetic fields, which feels like control, they're lovely.

*Kate Nesin, Artforum

Sunday, November 4, 2018

B. Wurtz at Richard Telles & ICA LA

(Richard TellesICA LA )

There is now a waste issue called "aspirational recycling" in which "people set aside items for recycling because they believe or hope they are recyclable, even when they aren’t," no longer just trash clogging our excretory paths but hopes clogging our recycling. Headaches as evidence of anxiety at the hands of trash of which the Wurtzian model provides a relief in seeing the the objects cared for, not amassed in landfill graves but given the second life in carousels. Our aspirations finally lets them levitate, holding them off the ground, where they would become trash. Which they are suspended from.

see too: Paul P., B. Wurtz at Cooper ColeB. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)B. Wurtz at Metro Pictures

Saturday, November 3, 2018

Past: B. Wurtz

"that the details aren't trivial. They are the attachments of care, sewing buttons to close coats around a warmth for when another person can't.  Wurtz's more homely space is all about knots tied, and buttons threaded, plastic bags hung to dry. They're dumb objects rescued by so much care like a responsibility shown for them."

"The American Gym Sock. Tied to teenage boys, normally repositories of filth, seed, and feet, normally locker room attire. a pubescent attire. Pimples and athletics, is here given a fastidious clean, highlighting its cotton and comfort, restoring purity, virginal phallus and receiver of course."

Paul P., B. Wurtz at Cooper ColeB. Wurtz at Lulu“The Crack-Up” at Room East (B. Wurtz)B. Wurtz at Metro Pictures

Friday, November 2, 2018

Mary Obering at Kayne Griffin Corcoran


It seems there's become a scramble to repair art history, reweave the tapestry's holes left by the moths hungry for the limelight. The omissions all pretended never happened. There is a problem with revisionist history in omitting that we did need to revise it. It would feel better if hadn't come so late, come after women artists finally also flying towards the moon with prices, the galleries tinting theirs with suspicions of market plays and generally not at all fair to the artists. KGC has a better track record, having always looking at least partially back, and so suspicions should maybe be muted, there's no fluorescents here. Though it does kinda look like a beach in moonlight.
Past: Allison Katz at MIT List Visual Arts Center

"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."

Click for full: Allison Katz at MIT List Visual Arts Center