Friday, December 6, 2019

November 25th, 2019

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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

Saturday, November 30, 2019

Venice 2019, Neïl Beloufa


Are these not bondage devices for tourists?
"What the third-century Stylite sought in self-privation and proud stillness, [the jogger] is seeking through the muscular exhaustion of his body. He is the brother in mortification of those who conscientiously exhaust themselves in the body-building studios on complicated machines with chrome pulleys and on terrifying medical contraptions. There is a direct line that runs from the medieval instruments of torture, via the industrial movements of production-line work, to the techniques of schooling the body by using mechanical apparatuses. Like dieting, body-building, and so many other things, jogging is a new form of voluntary servitude." - Baudrillard
Art is the new form of penance. A form of entertainment as self-flagellation, "of repentance for having done wrong."
The doctor's table and the movie theater converge.
Past: Vincent Fecteau

"Fecteau's like architectural navels, the "complicated pockets" like ears or industrial labia. They resemble, brandish resemblance, which morph in sinuous exterior/interior unsecured. Twist in like an ouroboric muscle car. Like cutting open your abdomen to reveal a cathedral. These turns are important, they mirror our body's soft points, the vulnerable pink cusps." "Notice your body shifting from exterior to interior, your lips, eyes, anus, ears, urethral opening, these twilight moments rolling into."

"The muscle car was - if by name alone - intended to resemble a body. Exuded the "muscle" it contained, sleek and rippling with. The image seeped into culture and the fast cars took on different appearances, insectoid, technical. But those muscled images remain latent, in the cultural ether, and Fecteau seems to pluck and rearrange some subconscious forms of these chopped and reassembled [...] Like a google algorithm trying to invent a car part, like a human recalling some vague sexual attachment to a physical object.."

Past: Vincent Fecteau at greengrassi, “Magic Ben Big Boy” at Matthew Marks, Vincent Fecteau at Misako & Rosen, Read all posts tagged Vincent Fecteau

Friday, November 29, 2019

Past: Max Hooper Schneider

"Well these sure make our ecological collapse seem beautiful. It surely won't be this ornamented to us. It might be beautiful to someone, but there might not be fish - or any life form - to be beautiful for. Our future might be a large hot acid scorched rock. Our plastic lingerie will dissolve to micro-suffocation devices for fish, our fake jewelry leeching till the water opaque poison. The plankton, studies have recently shown. These are different from Ruin porn, their interest is in fantasizing our future, apocalyptically. Maybe its nihilistic comfort to see the beauty in our suicide."

"Whole fantasies behind glass, Disney World behind glass where 20,000 leagues under glass a squid would attack your submarine. From sentient watermelon to primordial hot baths, the Chuck-E-Cheese Animtronics begin horribly signing a new dystopian that is lush."

Venice 2019, George Condo Arsenale


This is the first thing you see. Proposition A. Surely opening - at least one half of - your travel destination exhibition with this prominent, large, painting is something. Surely something more should have been made of this? Ironic mirror to Warhol, to Elvis, to Condo, cartooning the world. Surely something.

Thursday, November 28, 2019

Venice 2019, Arsenale Darren Bader


This used to be fun, these adbusters-like detournements in the world, ostensibly confusing comical estranging. But who has the energy to care about another wacky project teasing the signs of commerce we've grown so numb to.  It's all synonymous with silicon valley buzz words. Surrealist irruption becomes the tech-industry's mythical "disruption." That the language of these two movements (surrealism and big-tech) mirror each other is surrealist of all. Capital has forced surreal worlds in a way that art couldn't compete. Making this feel less comically extreme and more just like normal business, you can find these things just like this out there in the world, which may be Bader's - again hamfisted - point. The world is just the world, this is just the world.

Wednesday, November 27, 2019

Simone Leigh new york times

Tuesday, November 26, 2019

Past: Georgie Nettell

"Like Shepard Fairey posters for today's political desensitization that feels like a personal catatonia, the semio-dissonance frustrates. Embodying the corruption of desire for political agency and replacing it with the politically negligent. The strategy of corrupting its signs, of language, ruins our ability to form political response. If you fuck up language, the rational, enough it destroys the opposition's ability to speak, to rebut. Enough of this causes the 'learned helplessness in rats.' Again, our political desensitization."

Read full: Georgie Nettell at Reena Spaulings, Georgie Nettell at Lars Friedrich

Monday, November 25, 2019

Past: Frances Stark

"They're her own bedroom posters. Pay attention, it's an outline of escape, that subjectivity can conform to the vessel without losing its shape, or so Stark would wager."

"Stark’s teenage formality, her posters and videos, though clean, contain a level of humanist existential goo. Stark drawing from DIY-punk ethos letting it all hang out the canvas, a gesture towards admitting the cultural disposability of art practice based in images today that stands over the face of the Deep, Instagram. Artists can’t get over it, blasted in an unstoppable deluge of culture daily. With so many “dealing with it,” detourning it into art, [...] Stark’s insistence in the forms cheapness itself, its mixtape assemblage of a disposable music video, affirms her as one of the few who actually get it."

Venice 2019, Kenneth Goldsmith


This is bad and art should not become propaganda even propaganda for our team.
Past: Lutz Bacher

"the spamming of images should make it: The semantic satiation of saying it again and again mirroring Bacher's interest in the loss, in signification photocopied to death..." "into the noise of their granular flooring, 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 Galerie Buchholz and Sarah Rapson at Essex Street
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)

Sunday, November 24, 2019

Venice 2019, Arthur Jafa Central Pavilion


"The White Album" is probably best explained in reaction to reaction of "Love is the Message, The Message is Death".

"This was sad bc of where it was. I was uncomfortable bc of the ppl sat around me, the number of white ppl laughing at black people that went viral like Sweet Brown, like that beginning intro of The Unbreakable Kimmy Schmidt is rly fucked up, it’s not funny, the whole intro is a joke at the expense of the black body and the tropes of speech that white society has marked as laughable. They were laughing at these bits that weren’t for them to laugh at, without reflection on their position as an audience, the fact they were laughing felt grotesque like, it wasn’t there for it to be funny, it was there as part of the stuff, the stuff popping up with all the other,, it made me tense. it felt violent n i haven’t rly got words to explain it very well [i feel like Aria Dean explains the feeling and more better in Poor Meme, Rich Meme; but also this essay on Black Trauma & the viral video from Buzzfeed] it was like… ok so this happened; i was sat behind two like hype beast skate bros wearing busted vans and dead Supreme caps n like… there was a moment in the film when Earl Sweatshirt pops up n they like elbowed each other got all gassed that they recognised him;;; but there was no like irony for them that 2 minutes before there was a clip of Amandla Stenberg saying “what if white america loved black people as much as it loves consuming black culture”. It felt all at once, simultaneously too much;; like both irresponsible and immediately radical to dump this raw and vulnerable film, this footage, this black twitter as archive, all this in the film there in that setting with no cushion. At the top of a London building on the Strand that had been transformed into like a Lisson Gallery greatest hits album underneath us. No explanation, no address really. It felt violent that certain ppl could potentially walk away having had that laugh, n nothing else. No really emotional connect, not feeling like a freshly picked scab// like i did. Not to say, ‘i had the right reaction, lol at these white plebs’;;; but like… if u don’t get it, maybe it isn’t for u? isn’t it radical and irresponsible also to speak in specificities, to be both marginalised and not try and speak to a majority, how beautiful, to revel in that complexity! It made me sad bc the people around me didn’t get it. i know they didn’t get it, fuck me, white ppl never do. it made me sad bc this film made me feel so fucking much, but tbh i shouldn’t feel sad. I had a beautiful, specific reaction even though this film wasn’t actually really for me either." - The White Pube

'I’m not making any more Love Is the Messages,” [Jafa] said in a phone interview from his home base, Los Angeles.
“I started to feel like I was giving people this sort of microwave epiphany about blackness and I started [feeling] very suspect about it. After so many ‘I cried. I crieds’, well, is that the measure of having processed it in a constructive way? I’m not sure it is."
The White Album’s tonal and visual proximities begin with The Pure and the Damned, the music video from Oneohtrix Point Never featuring Iggy Pop’s eerie poesy, from the 2017 film Good Time. “To me, I look at that video, I was like: this shit is definitely about whiteness,” Jafa said of the clip, which he stumbled upon on YouTube. “A lot of really white shit that white people don’t think is about whiteness, they just think it’s about the world.” - The Guardian

Saturday, November 23, 2019

Venice 2019, Danh Vo, & at kurimanzutto

(Arsenale, kurimanzutto)

"Vo has acquired objects from the estate of Robert McNamara [...] This first contact with the McNamara family led their son Craig McNamara to befriend Vo and later gift him with a walnut orchard*, its timber destined to make rifle stocks. Instead, the timber has been used by the artist to make replicas of designer furniture or to be used raw and unfinished"

Remember "process orientated abstraction", those set of instructions - a conceptual rubric - that was enacted to be left as traces surfaces the painting? Spraying of fire extinguishers, extracting dyes from flowers, silvering paintings, et al. Vo's is the conceptual art version of that. Vo allows legend to become perfume, an adornment mystifying its objects. Like an unironic Jason Rhoades, exhibitions become spaces for the process of mythification. Whereas for Rhoades it was a  comic process of figurative trash becoming some hokey possibility for art, for Vo the pre-christened becomes involved in the permutations of further embedding it in objects. I think somewhere here there is a conflation of terms or ideas. The aura of art, of objects, is somehow smeltable, is made able to be repoured into new objects through a form of storytelling. Vo is a factory for this witchcraft, for the production of belief in these ghosts. This is not to denigrate storytelling, or myth, but that somehow (through conceptual art) we've equated the aura of art with the mythologizing of objects with a narrative, a press release. Replaced something's raison d'être with any reason for being whatsoever. What exactly do the walnut tables actually contain?

*According the Guardian, Vo was gifted 10 hectares of lumber, not an actual orchard. (24.7 acres of Sierra Orchard's 450. Though some of this acreage is dedicated to olive oil and other things. However, according to Time Out London, this was all the wood from a recent clearing.)

Thursday, November 21, 2019

Venice 2019, Laure Prouvost French Pavilion


Comparison to a Dental office because there is something so administered about Prouvost's, like being reclined slightly fetal as you are worked on, jaw agape, drilling, affects, smiling faces. A strange feeling of being digested. The same feeling as a very effective advertisement. Pressed and kneaded through tunnel again. Expelled out the end and feeling like it. A "4D film is a marketing term for an entertainment presentation system." The sensorsium, being awash in the seat of pure sensation. Like you are inside the movie. Like of course there's a queue. We require an industrial entertainment complex for the jetset. The special mention Golden lion went to the equivalent of Disney's It's a Small World boat ride, but its just Belgium.

See too: Laure Prouvost at Carlier Gebauer

Wednesday, November 20, 2019

Venice 2019, Belgium Jos de Gruyter & Harald Thys Mondo Cane


Against Venetian statuary, against marble gods with triforks, JdGHT's is wantonly provincial, the unsophisticate, the stupid it is. Turns out, despite centuries of looking up at them, we don't actually resemble Greek Gods. Instead these sullen mannequins far more accurate to the people encircling it. Tourists or art-polloi are made electric by this awful mirror. We are the botched paintings of Christ. It is a cruel realization that more than the marble, we unfortunately echo these, you Chuck-E-Cheese animatronic. Turns out people are ugly. A Golden Lion to mockery as corrective.
Welcome to Belgium.

Read all posts about Jos De Gruyter and Harald Thys
Read: Jos de Gruyter and Harald Thys at Kunsthal AarhusJos De Gruyter and Harald Thys at Gavin BrownJos de Gruyter and Harald Thys at WattisJos De Gruyter and Harald Thys at MoMA PS1

Tuesday, November 19, 2019

Venice 2019 Notes: Christoph Buchel

Something like a conversation, Venice:

"Something like 75 migrants died."
"No, I think it was 300, maybe more."
A third person through sipped coffee conjectured a third much higher number, which everyone, my eavesdropping included, agreed was absurd.

The United Nation's number is Google away for you and had bee for us group shaded in Free WiFi. But nobody wants to google a deathtoll. And we, having heard it before, carried with us some approximation we felt accurate-ish. We carry vague feelings of distinction between 75, 300 deaths, 800 deaths they label migrant. This indistinction matters, it seems it matters more than the actual number. The scales of death blurring as equivalent-ish. One-third of a September 11th.

Interesting that an artist generally dealing with installation and artifice is now trafficking this.

Monday, November 18, 2019

Venice 2019


When Venice has finally sunk and the winter beaches have washed away and we jetset can no longer virtualize space by exhausting the earth and finally have to stay put and upload to cloud for our higher desires, when there is no earth and there is only net, then we'll be forced to come up with a way to better sort our image. The primitive mass of image against this is all going away in our best attempts at preservation.

Sunday, November 17, 2019

Gerold Miller at Cassina Projects


This belongs to a genre, "Problems in painting" which we could trace through a legacy of modernism and concerns with flatness, frames, and for-art's-sake to today's endless ways to begaze your navel, painting. Weren't Stella's black paintings just navels-en-abyme. Torture in the ontologic sense.  Painting for painting's... what? How many ways can Dr. Frank reassemble the corpse and we still call it painting? I say this as someone who thinks Jo Baer is criminally underrated. It's perhaps one of those weird quirks that it cannot be just that the problems are interesting, the answers unfortunately have to be too.

Saturday, November 16, 2019


[Previously a] press release asks, "So how can we make up for the inability to touch?"

Our modern problem, our world, mediated by screens, the totality of which becomes enshrined in gallery, or touch screen glass. Ours is a world we see but don't touch, like an art museum.

And so art becomes the world's great development project inventing all the ways to surmount glass with a materiality so strong it could visually empath itself, so that we could feel through glass.

Like porn, we want to touch, want to experience sensuality. Separated by this glass both art and porn must find ways to make physical sensation a visual code passable through glass. Pornography does this by covering the body in oil, wrapping it in latex, inflating its breasts to absurdity. Art does this with goo and viscera and softness and lumps. Hypernormal stimuli.

So we get more exhibitionist materiality. Open wardrobe to expose wood, some woodgrain to counteract the glass we see everything through. This materialist becomes conflated with the authentic, the rustic.

Attention to the brown you may have noticed in stores having enveloped our packaging to stand for its green, the ecological concern signified by "brown." And "Natural" you may also have noticed has no FDA governance and can be, without recourse, stated about things like gasoline and high-fructose corn syrup, maybe steel nails.

Natural, like nature, creates a negative distinction, we are said to go out "into nature" to pretend we are distinct from it, to pretend worlds distinct from mankind. Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, West Elm mass producing it, in attempt to reclaim some authentic experience separate from the glass we touch all day in pocket. 

But the glass like the gallery can bring us anything, it appears on screen, in white fields, in front of you, your touch of nature, your finger grease smeared on it.

Like cabinets of curiosities collecting various exotic tokens displayed for enlightened society's pleasure, N. Dash's material deployments like swatches of touch are the anthropological remains of our dissolving physical world, distributed like catalogs of our once sensual pleasure over digital networks, "The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction" but no one is that hubristic today, these are about the loss of that, mourning it, our desire to once again touch things again.

The department store catalog of naturalism we now need as the world virtualizes under fingertips; in the future there will be booths where you will pay 25 credits to touch wood, feel dirt, see a tree, watch archival footage of rain.

"deploys her fragmented gestures in the service of a greater alchemy," chipping away at the artistic monument, further granularized to finer and finer pocks and us finally all staring at noise like a church for sensitivity training - commanded to the virtue of noticing. Like if you removed all the signs from the world asserting "scenic view ahead." As if we could consider it all so. There is no thing to see, no "main thing." Just a forest and trying see every tree for it, any sufficiently complex sidewalk is indistinguishable from art.

Stripped. But, no matter how much you want it, do not touch the art. Leaving everyone with a case of erotic sexual denial.


....The rotund, biomorphic. The anthropomorphic, anthropoid, and the dripping and the glistening. The meaty and the squishy, fungal. Glass etched with goo, sprayed. Wax deformed Rodins. Primordial, high definition flesh. The dirt. Psoriasic pulchritude. Your standard innuendo; vaginal negatives. The soft and photo sensitive. The band-aid awaiting its knee. Someone farts. The misshapen; hideously deformed. The institutionally nurse-like and the gore spread across asphalt. The putrescent, the rotting inside taught PVC. The colonoscopic. Our bodies inferred, touched, spread with creams oils and ointments. The sick. It was a lie to believe in machined aluminum autonomy, bodies and minds everywhere guttered. Every sculpture today inferring the body."
Past: Mungo Thomson at Contemporary Art Gallery Vancouver

"Taking the tropes of conceptual and post-minimalist art, Thompson's boorish version replaces romantics with a cleverness, inserting pop-culture into the permutations of conceptual art. It's all almost funny. e.g.: taking the October-author-weight of concern with the index and making an indexical film about the antiquated quaintness of the Rolodex, a gallery's. or: John Cage's 4:44 rendered beautifully as symphonic chirping of crickets. [...] The list goes on and critics groan and the uninitiated feel some sort of awe at getting it, art, we get it, the easily explainable trick Mungo's greatest trick of all."

Past: Daniel Rios Rodriguez

"The crust laden and the spiritual, it's hard to do sentimentality in art without being an outsider. You can't paint a flower without ironizing its loveliness, your desire to impress this. Sentimentality drips into its performance, theatrical, a too-much-presence and we blush for the artist having fallen into the trap of their own subjectivity for them, too often. Thick paint helps. It alleviates with its own paintertly over-presence, which provides, if not an ironizing, at least a solidarity. The paint expresses materially the same excess as the subject is. Confidence in clumsiness, endlessly endearing, a situation where you'll want to care for them."

"the brown you may have noticed in stores having enveloped our packaging to stand for its green, the ecological concern signified by "brown." And "Natural" you may also have noticed has no FDA governance and can be, without recourse, stated about things like gasoline and high-fructose corn syrup, maybe steel nails. Natural, like nature, creates a negative distinction, we are said to go out "into nature" to pretend we are distinct from it, to pretend their worlds distinct from mankind. Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, West Elm mass producing it, in attempt to reclaim some authentic experience separate from the glass we touch all day in pocket. But the glass like the gallery can bring us anything, it appears on screen, in white fields, in front of you, your touch of nature, your finger grease smeared on it."

link: Daniel Rios Rodriguez at LuluKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Thursday, November 14, 2019

Laure Prouvost at Carlier Gebauer


You're always entering a tunnel with Prouvost. Always ending with an argument on the exact definition of mis-en-scene. If German expressionist cinema had a unifying gestalt that we could all understand if not quite pin as anything but expressionist and German then Prouvost's is a sort of dental office maximalism. You always leave Prouvosts feeling lightly diddled, a titillation feeling swindled. Like if an Apple commercial grew tentacles entered the real and manipulated you. Prouvost treats everything and me as an infant, so radically in awe of all equally, dust, shit, flowers babies, nipples, in resin or celluloid cast together. Like advertisements working on the desire for you to return to the infantile placental state, into some affective hypnosis, impressionable like goo.

Wednesday, November 13, 2019

Karl Wirsum at Derek Eller


They're ludicrous of course, imagist. But occasionally their flight appears nearing touching down on reality, in landing, and, when doing so, the insanity feel nervous, electric. When the land of the zany encroach reality the question of course is whether the ludicrous momentarily mimics sensibilty or if reality itself has shifted into insanity. The world feels more and more like this no? Like taking crazy pills no? The fun of Wirsum is maybe finding these moments that touch on us, complete the circuit, release the static shock, remember waking up looking like this, looking at this man who controls our territory. Within art's safety.
Past: Gene Beery

"no wonder the surrealists and conceptualists loved Beery (artists handing him hundreds on the spot) - words can perform in a way that art doesn't, forming an address almost inherently surreal, a transmission between people, infiltrative, allowing its horsemen direct access to your head, to say whatever it wants, and already there, words standing around inside you."

"Beery toys with this functionality, a slight haywire version sparking in the walls, threatening to burn the whole thing, meaning, down. The trueness of statements, their ability to make sense, becomes if not beside the point, a thing to torture. Not the treachery of images, but the treachery of saying anything at all. "

Tuesday, November 12, 2019

Sarah Ortmeyer at Chicago Manual of Style


Writing about blank art you are confronted with the theater of your skull, your dome's skeletal movie screen. Eyes phosphene in darkness, in vacuity your mind alights. It's called "prisoner's cinema," a useful term for art. Blankness rewards the already full mind, handing the viewer back to themselves, allowing all the self-satisfied self-congratulations they can self-muster. The philistine sees checkers; the learned, chess; the PR wonders about the things that aren't there, and the aesthete, Sherrie Levine, Rosalind Krauss's Grid, the whole history of Modernism to fill whatever text space allowed: art abhors vacuum. The tension here: whether this beacon actually broadcasts idea or simply clears space for fill, me, this, now.

See too: Sarah Ortmeyer at BodegaSarah Ortmeyer at Potts“Seven Reeds” at Overduin & Co.Kaspar Müller at Museum im BellparkYngve Holen at Fine Arts, SydneyYngve Holen at Kunsthalle BaselYngve Holen at Modern ArtDavid Lieske at MUMOKYngve Holen at Modern Art
Past: Sarah Ortmeyer at Bodega, Sarah Ortmeyer at Potts

"...a more mythologic subject, a cultural signifier to whom our attraction is unbounded, orbiting a celestial beauty, a man of so much public weight it begins to accrete its own egg-like shell, his image..." An egg.

Click: Sarah Ortmeyer at Bodega, Sarah Ortmeyer at Potts

Past: Diamond Stingily

"and how did natural black hair become a 9 billion dollar industry so profoundly contentious it led Chris Rock to make a documentary about the subject with a Rotten Tomatoes 95% approval rating after his daughter at three asked why her natural hair wasn't "good?" Disneyfication, conforming a subject to dominant culture's preexisting expectations of how that object should be, making for a lot of unnecessary and uncomfortable changes." "...forever ambiguous until looked upon which like the quantum cat's vitals inside a box, a physical attribute achieves a superposition in culture, a sort of walking contradiction as a symbol of power at the same time it leaves open the wound for the bitter slight, Becky with the good hair.'"

Diamond Stingily at Queer ThoughtsDiamond Stingily at Freedman FitzpatrickDiamond Stingily at Wattis

Monday, November 11, 2019

Karin Sander at Hussenot


"canvases in standard formats that Karin Sander leaves at a selected location for a limited, defined period of time. They absorb and reproduce the specific patina of this location."

Conceptual art was obviously the roots of our the Living-Dead Formalism, the instructions lending credence to inoffensive abstraction. Weren't conceptual art's instructions just a means of self-mythologizing? Why does art cycle itself? Shouldn't we learn.

See too:  Karin Sander at Barbara Gross, Olivier Mosset, Karin Sander at lange + pult

Past: Puppies Puppies

"Like oral traditions whose stories allowed modification to fit the moment’s ethos, PP’s public domaining of intellectual properties proposes the, e.g., Chiquita banana as open source material. [...]  pre-established content for its storytelling, inhabiting the corporate/commercial sign systems that have come to determine our world. Harry Potter is the new Iliad for better or worse...."

"Behind a hostage of the forcibly public-domained. You get to disappear behind others'. A system of drag (drag as corporeal parasitization, cosplay) but too the dirty and cruel world of bodies forced to adopt the identity and means of the larger cultural empire that oversees it, i.e. Adorno’s conform or perish."

Read full: Puppies Puppies (Jade Kuriki Olivo) at Balice HertlingPuppies Puppies at What Pipeline, Puppies Puppies at BFA Boatos

Saturday, November 9, 2019

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 itself 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, your 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..."

Friday, November 8, 2019

Glenn Sorensen at Corvi-Mora


The oil continues ink spread, like dipped in it. Continue into the night, where the world fractures into shadows and shards. It is frustrating that writing about the night always sounds poetic since Sorensen's seem to have done away with anything melliferous, instead something tasting more like nickel. I think it's the green, the color of late-night television thrown onto bad carpet. It is science fiction lighting. Ominous green. Feel like seeing something, then seeing nothing.

See too: Glenn Sorensen at Annet Gelink
Past: Glenn Sorensen at Annet Gelink

"Got to give Jennifer Higgie Credit for calling Sorensen 'post-industrial Monets.' If the impressionists commented on the particularity of French light, Sorensen maybe on the particular liquidness of lighted night, ... unnatural abruptness that shorts rods and cones into afterimages, emergency light, disorientated to something representational that feels abstract."

Full: Glenn Sorensen at Annet Gelink

Thursday, November 7, 2019

Sayre Gomez at François Ghebaly


Here the cage bars become less literal. Fencing dissipates into the photographic techniques, a picture's non-focus is a frosted glass wall. A fake palm cell tower, a strip-mall sign: the impediment to a sunset. Homeless encampments censored against full identification. Gomez, is Hollywood's landscape painter with a sigh, using the techniques of tinseltown's advertorial golden era, the quick seduction of airbrushed leg landscapes. But instead of vistas we get cellphone towers. Only the grisly crust gets Gomez's full HD defect.  The stupid vile blackness of an Enterprise car rental sign to match Reinhardt's own. Whether this throwing in your face shit is stupidly cruel or realistic is your personal preference. "But I painted the banality so accurately!" cries the painter of life. "A mimesis so exact it enacts the drear it represents!" Call it antidote to the naive who think Hollywood is the nice part of LA, medicine to those who have never actually stood at Hollywood and Vine, walked that one block south of the restaurants in downtown. Someday this will all be yours, someday this will all be gentrified. Gomez at whim is able to flick his vaseline seduction on or, more powerfully, shut it off. This makes him coy. A gamesman. The paintings giveth and the paintings taketh, Gomez with his fingers. Yes, think Ed Ruchsa, but now words obscuring the view are attached to sign-poles, very realistic, yes, literal, yes. Literalness in all its stupidity is given in all seriousness its hard dullness.

See too: Andrei Koschmieder at Jenny’sSayre Gomez at Ghebaly Gallery
Past: Sayre Gomez at Ghebaly Gallery

...when you could simply change the focus to what's outside. Instead some vague construction. The old predicament of art, to peel away the stickers marking the surface of cynicism. [Painting] elegiac Walls. All of this is obvious, it's right there, legible; the point is that it’s alluring. We want to keep the walls around.

Read full: Sayre Gomez at Ghebaly Gallery

Wednesday, November 6, 2019

“Plains Ledger Drawings” at STANDARD (OSLO)


The perspectival ambiguity of the homes/tents/forts aligning around the edge of the paper which acts as edge of its world, like a fisheye lens for god, turn the paper any orientation and this was still the center of the world. And look at that soldier's leg, the soldiers falling back akimbo, while the guy on the horse is central, static, strong, as if the rider doesn't move, as if the world moves around him. The tension between pictographs, information and depiction, stories to tell.

*Of course though painful that while these are traded under ironically white lighting, the US's native populations are still among its most vulnerable people.

See too: Purvis Young at James Fuentes

Tuesday, November 5, 2019

Maren Hassinger at Tiwani Contemporary


Accumulate as ward against scarcity; arrange as ward against death. Identifying with the cast-off and detritus, seeing society waste and want not. Art which can express that lesser form of aesthetic judgement, compassion.

Minimalism's infatuation for the industrial process, of say Judd et al, was, in part, premised on these industrial processes deletion of the body and its "expression" (if not a promise of subjectivity excised entirely) in looking "pure," like objectivity, removing the human. ... Of course this was the lie of any commodity: that the clean aluminum sheets comprising boxes or laptops weren't simply wiped of their indentured sweat. Minimalism hid the body in the closet.

The hoarder artist re-stake the essential hand-care, human, blood, to what is considered by at best by most simply material. Treat waste with compassion.

Read: Melvin Edwards at Daniel BuchholzLutz Bacher at Galerie Buchholz and Sarah Rapson at Essex StreetSer Serpas at LUMA WestbauYuji Agematsu at LuluDylan Spaysky at Good WeatherDylan Spaysky at Clifton Benevento,

Monday, November 4, 2019

Hanne Darboven at Sprüth Magers


Proposal: A series of videos of artists and curators explaining Hanne Darboven to their dad.

Sunday, November 3, 2019

Past: Gili Tal

"... if the photos are by no means good, would it not be fault of the world they capture? 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."

"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’sGili Tal at Cabinet

Saturday, November 2, 2019

Katinka Bock at Pivô


Installation art seems made for its own Rube Goldbergifition, attachments and strings, pulleys and hangings: the appliances for hanging become the art objects themselves. Why do we like Rube Goldberg machines and their absurdification of the device. Is it comedy? The world rendered caricature? There is an undercurrent of nihilism, of angst and cynicism toward technology, neutering mechanical complexity as childlike confabulation. An angst or nihilism that subtly pervades Bock's work. As the PR says, Bock "‘profanes’" the exhibition space, contorted into subtly absurd gestures. "Katinka Bock chose Avalanche as the title of an exhibition in a country where it never snows but which is on the verge of collapse, like so many others."  The exhibition, its context, Sao Paulo, the art, its function, is made into cartoon, a fantastical contraption, a comedy device replacing actuality, a fantasy which is easier to deal with.
Past: Sara Deraedt

"Vacuums look like Star Wars droids, a technology not sleek but fantasy mechanical. The term 'greeble' was invented for Star Wars' scene builders to describe the false detailing added to increase surfaces visual complexity, to thus exoticize if not heighten the inferred technology. Vacuums are a tube that sucks and yet their encasements evolve all sorts of sleek sexual-mechanical curves and corners. A shell that infers the inner without much referring to it. The casing isn't designed for the object inside but for person deciding upon it, obviously."

Click: Sara Deraedt at Essex Street

Friday, November 1, 2019

Sturtevant at Freedman Fitzpatrick


While the paintings/drawing provided question of what exactly was being looked at, (How did Hainley put it? What remains of a cancellation?) as occlusion of what was Sturtevant. Against this blindness, cancellation, or hole, after her tennis break she returned with a visual maximalism that was so incredibly alluring. Recall seeing the inverted video pyramid at Gavin Brown - throbbing soundtrack lead in - and, mesmerized, watching the entire length of the video several times. What other art film has done that? Creating a gluttony, a casual technical lucidity that made them so consumable, a sugar image. They invoke an amnesia, the feeling of watching television as children, hours passing. Wake up to find yourself having been entranced by a void.
Past: Sturtevant at Air de Paris

"Dynamo for so much of the 1960s art world, Oldenburg was also, at times appallingly, no cartoon. (Séance Hannah Wilke.) Did an artist with such psycho-aesthetic investment in the invagination of commercial space ever stop to consider what might happen if, courtesy of a wildly inverting repetition, the phantasmatic derangements of capitalism or branding embroiled in his concession shoppe and its merging of philosophical and commercial notions re-rendezvoused to, vagina dentata-like, bite him in the ass?" - Bruce Hainley, Under the Sign of [sic]

"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,

Thursday, October 31, 2019

Alexandre Singh at Metro Pictures


An "imagined dystopic future." Says every press release today. Dystopia ripples through the artworld with the Gothic, occasionally hand in hand. Though Singh has been invested in Dystopia for some time - you may recall 2008's "Hello Meth lab in the Sun" - which now does feel very 2008 doesn't it. (Breaking Bad and antagonism to relational times.) This was then at the waning moments of the US's 8 years of George W. Bush. We were only hearing about Hope then. "Dystopia" spikes in Google Search Trends in 2005 (a video game released under the name) and, well, January 2016, correlating with another shifting US Presidential epoch. Why were we searching for Dystopias if we hand one on our hands? Why do horror themes correlate to each age's neurosis; Nuclear fears: Godzilla; Climate Change: environmental cataclysm films. Latest research on dreams says we perform in sleep to practice duress, invent the situation to imagine our performance. Our anxieties are given the fantasy of horror, dystopia, to watch and say, surely it won't be that bad, make them feel like fantasy.

See too: Andrei Koschmieder at Jenny’s
Past: Liz Craft

"could wish our communicado could find space for ethereal content, walls to text become brick to evoke a feeling rather than language, emoji mise-en-scene."

Liz Craft at Real Fine ArtsLiz Craft at Jenny’s

Wednesday, October 30, 2019

Paul Gondry, KAYA at Deborah Schamoni Paul Gondry


By Gwynne Hogan | October 21, 2016 1:24pm
EAST WILLIAMSBURG — The artist son of "Eternal Sunshine of the Spotless Mind" director Michel Gondry was questioned by NYPD hate-crime investigators after he hung a dummy from a tree on the same block where the film was shot — in what some neighbors considered a disturbing reference to lynching.

The dummy slung up by Paul Gondry, 25, Wednesday outside his Orient Avenue home was an effort to  "create some weirdness" in the days before Halloween, he said.

"I don't want it to be seen as a hate thing, it's not," said Gondry, 25, who was featured in three of his father's films, according to his IMDB page.

The artist's creation was the second effigy found hanging from a neighborhood tree in several weeks, though Gondry is not claiming credit for the first.

Following a DNAinfo report about the second dummy, police notified hate-crime investigators, who were looking into it, according to Deputy Inspector William Gardner of Williamsburg's 90th Precinct.

Paul Gondry, son of director Michel Gondry, didn't intend the hanging puppet to be a racist, he said. Gondry said he hoped his dummy — which had its head covered in cloth and its arms tied behind its back — would add to the suspenseful build-up to Halloween.

Because the dummy had a cloth around its head, police thought it might have been targeting Muslims in the neighborhood, Gondry said they told him during questioning. But the son of the Oscar winner had chosen the cloth for another reason.

"It was supposed to be more like a medieval peasant. The world we live in is reminiscent of medieval times," he said, pointing to the city's record homeless population. He hoped to "bring that back into an urban context," he said.

Gondry, who said he was "really into puppets," had some second thoughts about hanging the dummy, though he wasn't totally sorry he'd done it.

"I think I would do hanging clowns if I were to do it [again]," he said, adding, "It's always cool to create a bit of polemic."

Gondry added that there were "no Halloween decorations in the neighborhood. It's weird."

"I wouldn't go to Bed-Stuy and do it," said Gondry, who's lived on the block for seven years. "It's my own house."

Hate-crime investigators will determine whether or not to press charges against Gondry, police said.

The first dummy was found strung up around the corner, on Kingsland Avenue in front of the Cooper Park Houses, at the end of September, unnerving residents who called it a "spiteful symbol of lynching."
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

Tuesday, October 29, 2019

Tess Jaray at Exile


 The history of western modernism is one of secularization, no longer higher powers commanding but instead argued for in manifestos, the age of critics who proclaimed the usefulness of aesthetics (or anti-aesthetics) in a society increasingly industrialized and pressurized to extract value from everything, including art, and putting Greenberg on tirade, espousing the paradoxical function of an art ostensibly for only  art's sake. The critic pokes the painting, saying "C'mon. Do something." The need for painting to "function" so sublimates into art that it becomes naturalized, becomes necessary. (Even art that is destructive, anti-, or wanton is recouped and given function by its "criticality," by saying things like its "opposition to dominant order." Immediately closed back into.) But so, precursor to Toma Abts, painting as configurations, organized. We like organized paintings, because organization implies meaning, a function, a higher order. We like function, a use. A well constructed painting like a chair begins to feel functional, a painting like a Swiss army knife, capable of many situations.

Past: Than Hussein Clark

"Staged theatrically, their vacancy becomes strength, hollowness holding a surface for eyes to move and containing whatever importance the narrative can attribute it, like a beautifully feathered bird you are required to know nothing about, or a Tahitian landscape unencumbered by syphilitic artists, a tie-dyed Heimo Zobernig.  Like Sci-fi as excuse to CGI a lot of shiny things, theater to reimagine some neo-Memphis-group for Petra von Kant."

"so the context, under new light, grow baroque, wilt new leafs, gilt themselves in preparation for their spotlighting, put little balls on their feet, weight their connection to it, the theater."

"Turning the house topsy-turvy, the curatorial address of throwing it all in and letting god sort 'em out with song and dance."

Monday, October 28, 2019

Dominique Gonzalez-Foerster at Century Pictures


Reading a book in a commercial art gallery was a torture device invented for the late Medieval Era. A sort of mental flog, a public humiliation. The point being, you're not supposed to read the books. It is a show library. Like, you can call Strand bookstore and order a library by the foot, you can specify "classics," "law library," or spine color. You can reverse engineer this. What do the collected titles reveal about the impetus catalyzing it. You peruse a person's library to triangulate a subject, denote their reader, here an artist, an ostensible brandishing of an intellectual pedigree. A lot of people fake it; it's a form itself.

Sunday, October 27, 2019

Group Show at Meyer Kainer


In which object becomes notes of music to showcase the gallery that coronates them.

Saturday, October 26, 2019

Past: K.r.m. Mooney

"apart from its decorative function, the "setting" of jewelry is key, the holding of an object, the micro-fetish of attachmenting objects presented and the problem of material convergence, of which Money is all about...."

"Cady Noland's handcuffs were jewelry for metallized wrists, about how we attach people to a world. A pearl sets off the clavicle.... In the other room copper bite plates allow you an orthodontics to  wear the institutions like bling: the white walled architecture clenched to your teeth like a grill. Some of Paul Wall's grills cost $30,000 but these walls cost more."

Friday, October 25, 2019

Oscar Murillo at Carlos/Ishikawa


There's never been anything particularly subtle about Murillo's work. It's hulking metaphors writ in barn door sizes. A grandiosity that shadows whatever the work is "about," allowing a fleetingness, an evasiveness. Let's ask 12 people what Murillo's work is "about." What does a painting that says "Leche" mean? Or "coconut water"? "Maiz." "Yoga." The words function like fish hooks: something perhaps about class, but necessarily what about class. A few more in in this exhibition: Dirty bundles of bread and concrete. Black Vultures eating the black carcass of a black dog hidden under black tarp. Peformance, another tarp covering a body on the street shown in headlights is painted on by the artist. The arrows are huge, blinking, blinding, cover for what you want it to be about aboutness.

Thursday, October 24, 2019

David Ostrowski at Sundogs


Ostrowski had originally come up by returning the Krebberian moment to its Barre roots. Fay aersols perfumed on blank canvases. They looked a little crustier, which was nice on the iPhones they were mostly transacted on, this was the life of them. They looked real like reclaimed wood. And now Ostrowski continues this painting as excuse for stains, an interest in, say, the way say walls accumulate graffiti, Ostrowski's accumulate painting. Why do we like this. Because it doesn't look like "Painting." It coopts that vernacular hand you find on subway walls and alleyways. The grime accumulating in Parisian corners is not cloying the way painting is, with an artist attempting to woo, and thus its, the grime's, more sunset moments feel unsullied, natural. Remember all those Gedi Sibony stolen freight doors? Sibony simply lifted the vernacular. Which seems to be what is pressured out and deployed here. The owls are arbitrary (Ostrowski says as much), that's important to the realness, to grime, to sunsets.

"The small pleasure of [...] found paintings is their modernist uncanny... That those uncaring, underpaid to blot out corporate logos for truck's resale, might - through dumb luck or undiscovered brilliance - have painted something fine. Their unartful reason a pleasantly fresh breeze of non-art. [...] That brushstrokes without art intention always look best, and these just made to cover, to stop beer from selling itself, so painting could."

Read: Gedi Sibony at The Arsenale

Past: Lin May Saeed

"Lin May Saeed likes animals, and communicates that by making art depicting animals. Its forthrightness would seem naive if it weren't so endearing, handing it right to you to care for its fragility... the sign intertwined with its loss

"Animals in environments degraded by plastics, EPS, Styrofoam. We with some idea rolling around in our heads about how long these foams last, largely abstract, largely uncertain, a million or a mere ten thousand, years, the foam will persist longer than paintings. But, in the presence of light it very quickly experiences photodegradation breaking down into a powdery substance that will chemically persist in the lungs and bloodstream of animals moving up the food chain.  Sculptures which if improperly cared for become time bombs of their environmental toxicity, be careful with them, leaching chemical into the fish they depict carefully, a preciousness we must protect.

"Making art that expresses care for animals by carving it in material that - if left uncared for - would quickly degrade and release poisons to harm those animals depicted is sort like selling live grenades in a puppy shelter. Why not take a grenade home, why not take back some of this asbestos to protect the earth if not your home, these animals need you. Sort of expressing the suicide games pretty much everyone believes we're playing now in the anthropocene's foot-to-the-pedal towards brick walls type of time period."

Full: Lin May Saeed at Jacky StrenzLin May Saeed at Studio VoltaireLin May Saeed at Lulu
Past: Max Brand

"If you rolled a piece of silly putty across the newspaper of Painting's history, you'd have Brand. everything adolescent, sticky."

"Seeing the soup for its referents and judging hazy memories of once distinct tastes roiling in the surface. so clarified as to not single out any one flavor, any one referent, everything so blended, you could just keep naming ingredients. Which is where we're at today. Soup is easy to mass produce: a base prepared in advance can be used to a support a wide and readily available ingredients on its surface."

Full read: Max Brand at Off Vendome, Max Brand at Galerie Bernhard