Monday, December 9, 2019

November 25th, 2019

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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 Silberkuppe, Michaela Eichwald at Maureen Paley

Sunday, December 8, 2019

Shannon Ebner at Altman Siegel


There's too much information on the text - depictedly wet letters on photographically dewy walls - that don't function as fonts in maximizing readability, instead letters in competition with statement. Which this short-circuiting of language - renege on its duty to communicate cleanly - could create some weird warping as reading becomes an act of will against text, no longer communication super highways but entering the bushwhacked terrain of Christoper Wool say, or diverse cultural fauna of Jack Pierson. The desire to sediment text as object terrain is a long time one. A love for text to self-expose. Typography nerds rejoice. Brecht's distancing effect and a self-reflexive indexing in quotes about photography. Finding interest in one's belly button again, how much can you mirror your navel, type of deal.

Friday, December 6, 2019

Past: Tobias Kaspar

Past: Tobias Kapsar

"Folding fashion into art should seem to cause a nebulous hole to erupt, a singularity, the whole thing en abyme and vertiginous, distinctions collapsing and the thing torn open for questioning. But it just looks like art."

"None of this is lost on Kaspar who has been gliding between fashion-as-art and just-plain-art [...] fashions which for the moment the flash can be frozen"

Past: Tobias Kaspar at SilberkuppeTobias Kaspar at Peter Kilchmann

Thursday, December 5, 2019

John Knight at Galerie Neu at The Intermission


John Kelsey I would refer to it as a form of discursive specificity, but certainly not the situational model of site specificity that has been proposed by Miwon Kwon and others that tend to legitimate a generation of nineties fashion production, the likes of Pardo, etc., which are essentially designer knick-knacks disguised as “installation art.”

Isabelle Graw So in what way is the way you legitimize your practice through a site different from that type of practice you just criticized, like Pardo’s?

JK Because I don’t think my project is constructed for or received in the same way. It’s not reified under the conditions of the already fixated institutional frame like those projects are. I try not to reproduce the actual model of production that I’m attempting to interrogate, as I think others do with impunity.

Benjamin Buchloh You were the first artist that I’ve known who for many, many years, without even understanding what you meant at the time, said that all artistic decisions are design decisions. Your interest in design as a language, as one language among many systems within an ideological apparatus, has become very clear by now. Your understanding of design history and of design traditions in their transformation from the 1920s to the 1950s is a very integral part of that. Why would you then not welcome an artist like Pardo who supposedly does exactly that in the most programmatic way? He’s the guy who brought this out to the foreground and made a megaproject out of it.

JK Well, I welcome the illustration of the problem I think it represents, but don’t cuddle up to projects so politically bankrupted. It is exactly the black hole of consumption that it wants to be and questions precisely nothing.

IG His work is not about posing or causing problems.

JK There are no problems, but I would take this back to the Bauhaus, and the inherent problems in designing for a better world, which carries itself over to Cranbrook and spreads about the globe as it enters into the marketplace, vis-à-vis Design for Better Living, Design Research, Design Within Reach, and of course, the granddaddy of them all, IKEA. Product design, interior design, and installation design are all deeply implicated in capitalist ideology. It’s the primary lexicon for substantiating neoliberalism. It’s the off-the-shelf language of hegemony.
Past: John Knight

"...that Knight's most exasperating aspects are its most powerful forms, the ultimately austere cold display system establishing authority and meaning through severe withholding"..."seething through clenched teeth..."

John Knight at REDCAT
John Knight at Cabinet
John Knight at Greene Naftali

Wednesday, December 4, 2019

Kaye Donachie at Yuka Tsuruno


Maybe the 19th century's joke was painting faces positioned next to flowers and 20th century's joke was painting a face like it was flowers. Now what? A face is just the putty we rearrange in hopes of arranging something like meaning. An endless mine to profit from, our faces. Something we can pump. We're inordinately cruel to ourselves.

Tuesday, December 3, 2019

Paul P. at Lulu & Queer Thoughts

(QT, Lulu)

These are bit gratuitous, no? There shouldn't be this much desire, resting on the surface, as if the surface itself exuded it like the soap out of Madame X's dress, a painting condition called saponification, "a deformation often described as 'blooming' or 'efflorescence'". Centuries old paintings literally drip soap. Velasquez added too much of his painting medium to her dress in attempts to make it like oil, he desired too much a dress like a pool of onyx, and his in his desire like an inverse Icarus his painting exuded a white liquid to cleanse him. Of impurity, hubris. And P.'s structure become excuse to hang painting's flowers, blooms, cause shimmers in paint. Look how the painter's hand trembles, painting with one hand. As they become factories for desire. The steam is hung by painter.  Is this much desire, sentimentality okay?  Do these men sweat, or does the painter sweat for them? The glass of fashion. Desire placed on like a mask. DFW: "Her expression is from Page 18 of the Victoria’s Secret catalogue." Disappear behind it, no?

See too: Tony Conrad's GlassLouisa Gagliardi at Open Forum

Monday, December 2, 2019

2019 Venice, Antoine Catala


Proposition B begins differently, with breath, a soft exhaust, dispersed debris and then these words breathing slowly. Hey. Relax. Its intonation would appear friendly, coming in and out with its tide of breath. But do you trust it? Haven't we grown numb to this friendliness, that coercive calm of advertising, self-help, bait-and-switch sell. Because surely we recognize not everything is okay. Proposition A was certainly full of not-okay. And we've learned distrust. Being rightfully so doesn't make it easier. Torturing our connection with earnest pleas seems a theme of this Biennial.
Past: Lucy McKenzie

"Different from other representational returns prizing the awkward and cartoon, Mckenzie's representation is surreal exactly for its literalness, a directness almost vertiginous in our distrust of it. [...] the modern question of whether we should believe in the sign or not, the surface or not, like clue boards we're not sure to trust, as the PR states: presenting legal grey areas in culture’s appetite for the genuine."

Read full: Lucy McKenzie at Daniel Buchholz