Sunday, September 15, 2019

Hilary Pecis at Halsey McKay


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Gingham filters for our paintings. Nostalgia you can adjust on a slider. The equivalent of jeans that come pre-torn, factory fresh history. Surely our craving for this nostalgia's cake, a symptom of insecure times. The obvious reference to Wood's would fail to account for this theme'd overlay, and closer thematics perhaps in Davey's search in means of prewashing our tech with its past.


See too: Moyra Davey at Institute of Contemporary Art, Jonas Wood at David Kordansky, Steve Bishop at Kunstverein Braunschweig, Wolfgang Tillmans at Galerie Buchholz

Friday, September 13, 2019

Alan Charlton at Galerie Tschudi

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"He didn’t want to build a myth around himself, strive for a socially respected position or create paintings that would reveal hidden truths or promise transcendence. Charlton therefore became an artist who – with modesty, but also with unwavering commitment – does everything himself: from the stretcher frame to mounting the canvas to the careful application of colour, from packing up the paintings, tidying and cleaning the studio to organizing shipment. ""Throughout, the paintings are grounded, unpretentious, honest, and straightforwardly present."
But then: This [Charlton's] unshakable concentration, the perfectly skilled handling, the authenticity and care lavished on each individual step..."
The quaker or protestant ethic, with its reverence, particularly without those ethics end result of a function, becomes its form of myth, building church without furniture.
See too: “Seven Reeds” at Overduin & Co. Daniel Buren at BortolamiHeimo ZobernigDena Yago at Sandy Brown
Past:Yuki Kimura

"A slipperiness to Kimura's, objects or photos whose concreteness or hopes for singularity or individuality has a tendency to bleed. Glass which we don't really see but for its reflection, or flaws, it only warbles a world surrounding it, refracts what we put through it. Photos of brandy glasses usually are shot in the white cloud of virtuality to reduce the room, whereas these are built to hold it."

"positing perhaps that the double is less as a conceptual predicament than a material one: pieces of clean metal in a vacuum will auto-weld together, atomically unable to differentiate their objecthood and so confused become one. Mathematical quandries of whether or not "2" exists, or "1" for that matter"

Yuki Kimura at Jenny’sYuki Kimura at Wattis
Past: Nora Turato

"A satisfying gesture: language, propelled with advertorial oomph, instead deadpans with its empty cymbal crash; understand the words but, devoid of context feel a little haunted, disembodied, ghosts of something far. ... 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."


read full: Hanne Lippard, Nora Turato at Metro PicturesNora Turato at Kunstmuseum Liechtenstein

Wednesday, September 11, 2019

Ivy Haldeman at Capsule Shanghai


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To summate, the casing is the suits, which is the comic line, which is the erotic sheen, which is the women.


see too: Ivy Haldeman at Downs & Ross

“Fried Patterns” at Brussels Gallery Weekend


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Sure it looks like your usual undergraduate thesis show, but that's not what matters in situations like these. Attention is not valorized in the visible, in situations like these.
Past: Ivy Haldeman at Downs & Ross

"Oldenburg innuendo slicked to the surface, in the stroke of the brush we could call lascivious. The same strokes that delineated super hero breasts comicly. In latex suits forming questions other comic artists posed as, "Is Amazon Girl's super power the ability to squeeze that figure into that suit?" Squeeze that meat into that casing. Is the [casing] the product, or a surface of sex that sells?"


Ivy Haldeman at Downs & Ross

Tuesday, September 10, 2019

Miriam Cahn at Museo Nacional Centro de Arte Reina Sofía


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They look like drawings made by children to be diagnosed by therapists. And wearing their analysis on their sleeve. There's no confusion as to what these relate. And this should make them mawkish, sentimental, but the hammy naiveté only underscores. So much "bad painting" comes with an ironic wink made, generally, by grown men who affect their idiot savant, pretend Picassoing. These instead are too much, their saccharineness becomes its own abjection. Real stupidity, not feigned.


See too:Miriam Cahn at Meyer RieggerMiriam Cahn at Jocelyn WolffMiriam Cahn at Meyer RieggerCalvin Marcus at Clearing
Past: Henrik Olesen

"the filthy human Olesen has, for a while now, been stuffing in crevasses" "flakes like your dead skin collecting under beds with dirt as dust, the cells that Olesen keeps adhering like wet toilet paper to everything, and the hangnails sticking out from walls"


Read full:
Henrik Olesen at Schinkel Pavilion
Henrik Olesen at Cabinet
Henrik Olesen at Reena Spaulings
Gerry Bibby, Henrik Olesen at Sismógrafo


Past: Miriam Cahn

"even while suspending its pink people over the sandpaper caustics of abrasive color, one of very few painters to make painting's bright red beauty a violent thing. Painting can do a real violence to balloons filled with red liquid. Rubbed of noses, devoid of hair, flesh the color of factory chicken. The manifold meanings of the adjective tender, "showing gentleness" as well as "sensitive to pain." "(of meat) easy to cut."

Read full:Miriam Cahn at Meyer RieggerMiriam Cahn at Jocelyn WolffMiriam Cahn at Meyer Riegger

Monday, September 9, 2019

Darren Bader at Franco Nero

Past: Darren Bader

"Possibly the reason a lot of artists hate Bader, besides the general impishness, is the refusal to perform any sort of critical consolidation of his practice, that moral underpinning of art, "criticality."  Instead, at the cost of any "critical" structure, a near incessant expansion. His ability to take. Any of Bader's "good ideas" are buried in an avalanche of "any idea." Darren Bader is exhausting.  A lot of artists - despite whatever art's claims to freedom and ostensible rejection of cultural values - wouldn't let themselves behave half this stupidly. The criticism is perhaps that acting stupidly isn't really freeing, but really neither is what most artists do anyway. "

finding small comedy in finding the glitches in new products, on the internet you would see mugs printed with inane images  auto-designed by algorithms. It dredged everything available to place it onto a mug. Walmart selling an iPhone case with an adult wearing diapers. Everything onto everything. Exponential increase to the products available without oversight: quantity above all. A tornado of reference and attachment, and the audience in the whirl attempting to see anything to relieve the anxiety of so much garbage, vertigo in feeling one's toes sense the full ocean of production."

"that if we're going to take seriously the idea of dead fire bricks arranged gravenly on floors, or water become tree, then too so we must accept with it its ideological twin, shrimp tossed in a foosball table or muffins arranged. To argue one way or the other the importance of bricks/floor vs shrimp/game is to already enter into Bader's standoff, and lose to the man brilliantly willing to lose everything to win."


See Full:
Darren Bader at Blum & Poe
Darren Bader at Andrew Kreps
Darren Bader at Sadie Coles
Darren Bader at Radio Athènes,
Darren Bader at Kölnischer Kunstverein
Darren Bader at Andrew Kreps

Sunday, September 8, 2019

Dora Budor at Kunsthalle Basel


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A Pierre Hughye for the post-apocalypse, Budor's maybe a bit more invested in theatrics, the movies, and less in magic, instead in its dumbness, which is what we love those big sci-fi budgets for, the vast quantity of ash.

Saturday, September 7, 2019

“Digital Gothic” at Centre d’Art Contemporain La Synagogue Delme


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Why has the gothic returned? It has metastasized, a gothic grown on gothic. A more byperbolic version. Sometimes it's easier to embrace pain, ruin, than it is to desire change, which would leave possibility for disappointment. Instead welcoming the car crash to feel some control over its. We peek through doors at madness, horror, peel back scalps to see skull's white, as a comfort to state, surely the end-times will not be as bad as this.
The gothic's dissolution from historical marker to stylistic genre, like steampunk or retrofuturism, holds onto an anachronism, an implicit nostalgia for the past's future, rather than our own. What the Victorians had imagined as horror, pools of blood and pendulum cuts, is far more genteel than what is our current madness. This is the pleasure-saftey of genre, it has rules.


See too: Morag Keil at Project Native InformantMorag Keil at Jenny’sMorag Keil at Real Fine ArtsNicolas Ceccaldi at Le Consortium

Friday, September 6, 2019

Bea Schlingelhoff at Museum des Landes Glarus Freulerpalast


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A good thorough dry PR. Removing the glass from the Museum. When art finally comes back around to things like conceptual practices, or institutional critique, one wonders what role CAWD will have in a more patient thorough artworld. If we get back there ever.

Naomi Rincón Gallardo at Parallel Oaxaca


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A PhD in art. Thoughts on doctoral necessitude arts once alit the artworld. Now here we are. Pursuing it. Can calls for anti-colonialist practices come from inside the house?

Wednesday, September 4, 2019

“Automatic Door” at Park View / Paul Soto


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The asinine quantity of pictures of bodies today, instagram influencers, lotion advertising, pornography. The vast amount of flesh smeared on everything, our stores full of them, our faces spread at 10 meter heights. Everywhere; a hall of mirrors. As if Bernd and Hilla Becher had foretold of a, this, complete surveillance, catalog, cars with more eyes than spiders to take everything and render it. And our bodies become so extracted, mined, and repackaged, that we start to feel like we don't have bodies at all. Just things, mocked as meat space, something stupid or without sense, or heat, or passion, or sensitivity, but whitened teeth smiles mined. And but then here a photo of a body still surprising, that can endear us to it, these weird incongruous things not yet fully extracted.


See too:  AA Bronson and Keith Boadwee at Deborah SchamoniGeumhyung Jeong at KLEMM’SRoger Hiorns at Faena Arts CenterErwin Wurm at Kunstmuseum Wolfsburg,

Ann Craven at Center for Maine Contemporary Art


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A disposability, amassment, like pages in diary, sketches in a notebook, kleenexes to breeze, dust to the wind. Cheapness enhances their temporality; it tarnishes quickly to any glare that won't care for it. They come pre-wounded as chintz.

Tuesday, September 3, 2019

Past: Ann Craven
"Irony tempered by luxury fordist production. Surely if one cares to paint the moon this many times, one cares. The clock critiqued with an On Kawara style of deliberation: accumulation."

"Is this Stockholm syndrome, or has Painting simply filled with her derivatives making Craven's appear buoyant, floating on her lineage. Even what had seemed so saccharine, seems now somehow tastefully polite. Or a literal process of desensitization, Craven's endlessly repeated imagery eventually producing "diminished emotional responsiveness to a negative, aversive or positive stimulus after repeated exposure to it." You can learn to feel a coping apathy toward any repeated stimulus, called "learned helplessness in rats."


Read full: Ann Craven at KARMA, Ann Craven at Confort ModerneAnn Craven at Southard Reid
Past: Heimo Zobernig

"[The work's] extreme banality incites questioning [as disinteresting objects must expel interest elsewhere], and exposes its stage to skepticism wrung [institutional critique]. The inanity of such an operation might seem at the limits of humane interest, but Zobernig's magisterial ability to continually wrest insipid rabbits from hats irrupts a comedy at the depths of that hat.

"The dizzying aspect of its practice: the ability to lack any particularness whatsoever, terrifying blankness as genericness as phantasmagoria, projecting ghosts of modernism on the backs of our brains."

Monday, September 2, 2019

Andrea Büttner at Galerie Tschudi


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We've become so addicted to the candied surrealism that dominates. Not sure other forms are even entirely legible anymore. Your gut biome begins to mirror the flora of what you feed it. Eventually you crave what you've been fed.

Sunday, September 1, 2019

“Body Check” at Lenbachhaus


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As a visual pairing, a sort of symmetry, sense. And also a physical feat collecting "about one hundred selected works on loan from international collections that are rarely on public display." But we get about 16 images here. And as a conceptual pairing, a goose chase, "dramatizing the female and male bodies" pretty much end the similarities. A coincidence if not a mistake.


Thursday, August 29, 2019

Veit Laurent Kurz at Kunstverein Nürnberg


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Another anachronistic period aesthetics misremembered, like retrofuturism, or steampunk. Call this look post-apocalypse primeval. Cosplay nostalgia for time that was not. Steampunk stuck to a future built clinging to the Cartesian, mechanistic, rationally enlightened gentlemen, comforting against the opacity of neoliberal globalism, market algorithms, and subprime CDOs that no one understood until collapse. Then it made sense that at some point sci-fi and Apple commercials began setting their products in lush green forests, envisioning the technology so advanced it appeared natural, magic, indistinguishable; today: Artisanal baguettes and iPhones.


“S.O.A.P.Y. III” at What Pipeline

AR: Diamond Stingily at Wattis


Artist: Diamond Stingily
Venue: Wattis
Exhibition Title: Doing the Best I Can
Originally Posted: September 15th, 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 27, 2019

AR: Charline von Heyl at Petzel


Artist: Charline von Heyl
Venue: Petzel, New York
Exhibition Title: New Work
Originally Posted: September 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.

Past: Nora Schultz
Jury-rigging's nautical roots - in the provisional lashing of temporary mast and sails - before the term basically come to mean any unsightly but workable solution to a problem - has a particular relevance to Schultz whose early misuse of materials to create impromptu painting machines involved lots of rigging awkward solutions to the problems of needing to produce a painting to achieve that sort of elegance captured by outsider architecture, redneck repairs, and the whole meme of "if it look stupid but it works, it ain't stupid" captured by the internet, thematizing the absurdity of the problem's demands as a whole to begin with and then with further inelegant metal solutions to sculpture as horrendous jagged objects, the term is often malpropoed with "jerry-built" but not to be confused with the definition of "built unsubstantially of bad materials; built to sell but not last."


Nora Schultz at dépendance
Nora Schultz at Reena Spaulings

Monday, August 26, 2019

Past: John Armleder

"Everyone loves the smell of their own brand, and the miasmia wafts in with a laugh of its aesthetic impropriety. Like a fart joke. The bastardization of the proper. Stray paint and design faux-pas.  Paintings which look the way "oopsie" sounds. Whether or not anyone else loves is it in relation to how deeply trapped they are with it. Fart aesthetics in the high speech."

read full: Group Show at David KordanskyJohn Armleder at Fernand Léger Foundation

Sunday, August 25, 2019

AR: Raúl de Nieves at Freedman Fitzpatrick


Artist: Raúl de Nieves
Venue: Freedman Fitzpatrick, Los Angeles
Exhibition Title: The Guide
Originally Posted: October 31st, 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 23, 2019

AR: Gili Tal at Cabinet

Artist: Gili Tal
Venue: Cabinet, London
Exhibition Title: Civic Virtues
Originally Posted: November 9th, 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.

Group Show at Nagel Draxler


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This is what 10 years ago looked like.

Wednesday, August 21, 2019

Anna Zacharoff at Kantine

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PR: "Some might say that a dollhouse is an expression of scale. It is a domestic monument and an architecture of absolute control."

Which CAWD previously: "So artistic turns to dolls and miniatures and virtuality makes symptomatic sense: an expression of a need for control over a world we increasingly do not. There is a dissonance between our interior worlds which we find virtual and beholden to our godlike control of a drag/drop materiality conjuring sex in our glass or products from its depths. Digital desires that the physical world increasingly doesn't reflect. The model allows the physical world marionette to an invisible hand in which we trust."

"The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. The model encapsulates this world governed by virtual features, the planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in."

There is here though a clever inversion with the documentation, which turns the virtual plane, model, CAD, into an ouroboros en abyme. We float. We all float in here.


See to: Mathis Altmann at Halle für Kunst LüneburgMathis Altmann at Freedman FitzpatrickGina Folly at Ermes-Ermes

Tuesday, August 20, 2019

Lois Dodd at Modern Art


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Plainness feels like the fresh air it ostensibly depicts. A lightness. More like drawing. These paintings would have been passé 10 years ago's theoretics and assemblage, but some anachronism has happened. The world, its viewing, is already surreal enough. Even the world feels strange, tender.
Past: Nina Beier

"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..."

Nina Beier at Metro Pictures
Nina Beier at David Roberts Art Foundation
Nina Beier at Kunstverein Hamburg
Nina Beier at Croy Nielsen

Sunday, August 18, 2019

Alia Farid at Portikus


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Monuments to our plastic shackles, lifelines, supplying water and indenturing us to its machine. Where we were once attached to rivers, springs, we are not attached to some global complex. Like the "Plastics make it possible" ad campaigns, a journey through time, cast in plastic. Deeply ironic, no? Isn't the world itself a monument to plastic, and covered in it. Not entirely sure why we now monumentalize our pain, but art seems to enjoy masochism, it is "critical."

Friday, August 16, 2019

AR: Ghislaine Leung at Chisenhale

Artist: Ghislaine Leung
Venue: Chisenhale, London
Exhibition Title: Constitution
Originally Posted: March 28th, 2019
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.
Past: ektor garcia at Cooper Cole

"...a very modern problem, our world, mediated by screens, the totality of which becomes enshrined in gallery or touch screen glass, and art is the world's development project in all the ways to surmount it, a materiality so strong it visually empaths itself, that we could actually feel something through glass. A "supernormal stimulus," exaggerated materiality that begins to look like fetish for."

Read full: ektor garcia at Cooper Cole

Thursday, August 15, 2019

AR: Ser Serpas at LUMA Westbau

Artist: Ser Serpas
Venue: Truth and Consequences, Geneva
Originally Posted: August 10th, 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.
Past: Piero Gilardi at Frankfurt Am Main

"...his astro-turf so in demand they were "at times delivered to the galleries in huge rolls and sold to collectors by the yard."  What was it making an industrial mockery of the land so desirous to the rich. Was it death-drive chic, or did we think then it so fantastical the notion of artificial earth, or were we starry eyed over the possibility: the earth produced on rolls by the yard, or at least something imitating it..."


read full: Piero Gilardi at Frankfurt Am Main

Nick Oberthaler at Emanuel Layr

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The cartoon infects everything, including our signscapes, their assertion, commands that knead the world with stern minimalism. "a general tool for rudimentary signalling and identification" and turning us all into vexillologists at their askew version.

Wednesday, August 14, 2019

AR: Jana Euler at Galerie Neu

Artist: Jana Euler
Venue: Galerie Neu, Berlin
Exhibition Title: Great White Fear
Originally Posted: May 13th, 2019
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 12, 2019

AR: Fernanda Gomes at Museo Jumex


Artist: Fernanda Gomes
Venue: Museo Jumex, Mexico City
Originally Posted: October 10th, 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.

Sunday, August 11, 2019

AR: Yuji Agematsu at Lulu

Artist: Yuji Agematsu
Venue: Lulu, Mexico City
Exhibition Title: Mexico City: April 1 to 13, 2019
Originally Posted: June 24th, 2019
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.

AR: Kathryn Andrews at KÖNIG GALERIE

Artist: Kathryn Andrews
Venue: KÖNIG GALERIE, Berlin
Exhibition Title: Circus Empire
Originally Posted: July 8th, 2019
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.