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.