Sunday, December 9, 2018

Tala Madani at 303 Gallery


The projection screen of painting is the same projection screen as the minds eye. You draw from one to draw onto another. Mirror images. And Madani's projection screens make this act explicit, the theater of the imagination. Like Wade Guyton who rode a wave of funereal optimism that we would one day merely press print on our dreams. That painting expressing its ability to conjure is desirable because it proves wishes can be made concrete. You can dream it, you can print it. Or paint it, like all those paintings of Jesus. But Madani shares a similar nihilism as Guyton: that what we will see in other's printed conscious is a lot of nightmares, Madani's.

See too: Wade Guyton at Academie Conti & Le ConsortiumTala Madani at David Kordansky

Saturday, December 8, 2018

Klara Liden at Reena Spaulings


Dance in the expanded sense. The ability for a body to move, across a theater stage or clipping fences to access a city's forbidden sites. Liden's early video dance beating a bike to death, or hysteric strip on train car. The literal moonwalk and ballet practice. Videos. Dance. The posters are just tchotchkes advertising this theater performance, bodily movement that Liden's practice always been invested in.
So then here, the pratfall, physical comedy, SLAPSTICK. The world turned to rubber. "In social psychology, the pratfall effect is the tendency for attractiveness to increase or decrease after an individual makes a mistake. An individual perceived to be highly-competent would be considered, on average, more likable after committing a blunder, while the opposite would occur if a person perceived as average made a mistake." There's something about our world today where slapstick isn't as funny.
Past: Tala Mandani

"Conjuring in the virtual theater of imagination's Matrix-like plane, Madani's paintings foreground the drawing of imagination from an abyss, that, like Bacon's claustro-realms, become spaces for enacting and enacted belittlements and torture, and what this means for Madani in psychoanalytic terms is hard to tell.  Mandani has been painting these men for a long time, and when a grey man in the soft shape of middle age sporting an open robed Santa outfit urinates on babies in a wallpapered room, there isn't a shock, the babies already wear the beards of their adulthood..."

Click here to read: Tala Madani at David Kordansky

Friday, December 7, 2018

Past: Klara Liden at Reena Spaulings

"At best Liden's "examinations of the anxiety of urban space" demonstrates the fraughtness on which society often rests: flippantly publishing the keys to city, (e.g. bolt cutters and flashlight); implicit threat of artist's desublimating their professions higher order bashing a bicycle to death (see too: real violence); or the small smile of this exhibition's theft of things that delineate private property (i.e. stealing the things that make private property possible). Bristling the small hairs separating us from chaos. The giddy nerves of being in break down's presence. Feel the rush of anarchism from the safety of the institution..."

Klara Liden at Reena Spaulings, Klara Liden and Karl Holmqvist at Kunstverein BraunschweigKlara Lidén, Alicia Frankovich at Kurator

Past:Karl Holmqvist at Sant’Andrea de Scaphis

"We like words, we trust words, our whole society practically predicted on words, everywhere, ubiquitous, magnificent and fragile. So the Holmqvistic hammering of words into tin for his cymbal tapping repetition could feel either charmingly disruptive or cruel.  Holmqvist has expressed less affinity for jazz than for noise, words become the sensation of objects felt with a numb hand, the cacophony of nerves deprived...."

Read full: Karl Holmqvist at Sant’Andrea de Scaphis

Thursday, December 6, 2018

Tania Pérez Córdova at Kunsthalle Basel


Cosmetics, gunpowder, and volcanic ash walk into a gallery and smear themselves onto the wall. Conceptual art is a lot of jokes without punchlines. Instead a lapse, opening expanse like vacancy. This room is the interpretable space, the gap, where we could manifest the punchline. "The mathematician confronted with fire, proves that solution exists, and goes back to bed." The cymbals and relief of punchlines is replaced by the viewer as critic who interprets. This gap between the returns are literal here, physicalized in the holes of pots attempted to be recast into original forms. That's funny. But not like haha funny. The holes mimicking the ones placed in your head, you fill them.

Wednesday, December 5, 2018

Kandis Williams at Cooper Cole


"especially in the art world where we have so many unlanguaged connections to the images of empire. [Those images are] the forms and fragments of Platonic ideals that now serve as our perceptual tools."

Elad Lassry at Le Plateau


I like in this documentation how extremely far away the artwork is. In all of it. Like stains on white walls. Like placeholders for art, tokens for the objects that should be there. Like setting quarter down in golf. This feels apt for Lassry, treating images as objects and objects as images, teases art for it commodity. The frame for the packaging, the metal that contains the thing printable by the roll.

Tuesday, December 4, 2018

Past: Elad Lassry

" Furries costumed in fursuits as substitute for the slick lines of the anthropomorphic cartoon animals they desire sex with, Lassry's photographs dress their photograph as slick objects, anthropomorphizing the objectifying seduction of photography's cartoon version, wearing a "fursuit" of the image, color coded to the frame..."

Monday, December 3, 2018

Fergus Feehily at Misako & Rosen


Everyone love Feehily, they are like a breeze. Against everyone else's returns to modernism Feehily's could seem one more scuzz on the pond to extract any further oxygen from it. Instead perhaps like Raoul De Keyser a mining for some odd uncanny version. There is a bit of adorability to their off-elegance. Paintings like the underdog, we root for them. Like wearing a fur-coat and a runny-nose. "in micro mode: in accumulations of near-subliminal pictorial events that reward an unhurried, particle-magnifying gaze."

Raoul De Keyser at Inverleith House,
Past: David Lieske

"Lieske was of the first of the cargo cults reassembling the totems of meaning in the desert of it, picking detritus. The issue was resolved not by necessarily by making objects mean again - which they couldn't - it's hard to make an empty bottle mean in arid land - but by situating objects so that they connoted meaning despite whatever inscrutable blankness like hieroglyphs. What was important was exuding the affect of meaning, regardless of whether there was any and that it didn't matter anyway was what we were all beginning to pick up on and what the commercial world had known for decades (that you can create "meaning" at will with attitude, aura) which while Lieske pondering whether this was a problem was suddenly flooded and drown by more ephebic artists already having decided for him it wasn't and now this is the water we live in, a flooded terrain of objects imbued, over-saturated "meaning."
"If so much art looks like Broodthaers today, it is because Broodthaers was of the first invested in the arrangements of display as a credence to meaning, institutional or otherwise."

Click to read full: David Lieske at MUMOKDavid Lieske at Lovaas Projects

“Swingers” at Greene Naftali


There's always been Tinder. We've always tried to connect in through boxes, in boxes. To find people who share our fetishes, a niche for piña coladas and rain. Our expressions are always through the frameworks of our oppressors. Fireflies have phosphoresce we have capitalism, want ads, lights in darkness. The firefly may not even know why his butt is alight, we for the camera.

Saturday, December 1, 2018

Vladimir Kokolia at Fait


Kokolia a perfect example of what the art world's internet presence was like Before CAD. Go Google Vladimír Kokolia. Active artist for decades, a show a MoMA in the 90s, and yet almost nothing organized online. This is what it was like for almost everyone in BC era. Click around and remember it. After Daily, when everyone recognized the power of transmission, the visible became hegemonic, pornographic, we could see everything and know nothing, as promotion of the highest order. And now desperate desires to see Kokolia's drawings off in the distance prove the addiction to sight. I want to see them. Someone sell me one.
Past: Sturtevant at Air de Paris

"Literalness in Sturtevant's work is always a sword's doubled edge, a trap  - that many fell into seen in early writing on the artist - literalness was staged obviousness acting as a foreground which blinded with its hamfistedness. The dark thing next to the bright light. "

Sturtevant at Air de ParisSturtevant at MoMASturtevant at Thaddaeus Ropac,