Friday, October 18, 2019


The question of how could CAD expand yet retain the power of its single panoptic window, its Borgesian aleph.

The question is, does adding more towers, more bastions to the territory further legitimate the eyes. Ostensibly the reflection should be more complete. But somehow this ruptures the myth: CAD sees all things through the panopticon's prisoners, us, remaining uncertain whether/when they are being viewed, manifesting a permanent suspicion for the surveillance, artists seen, manifesting sympathy to the system, its code, aesthetics, a guilt under omniscient god. This is, humbly, CAD, a stand in for the system itself. The funny fabrication is that there weren't contributors before. But now the eyes in the Forrest will bear names, and while they always did, we've entered this distinct land labeled "curation."

CAD harbored power through the - however distant - implication of providing a true full survey. While this was not the case, CAD was closest thing to, providing a, however warbled, singular reflection for everyone to latch like curmudgeonly barnacles upon. (I can think of no other image blog placed on CVs as "press.") And so too the warbles and hotspots in CADs mirror became charming if glaring. (I know of at least one collector whose entire collection is itself a representation of this CAD mirror.) A large and uncanny mirror was something we had deep down hoped for, to see ourselves reflected back in. A large glaring mirror that was ultimately unfortunately usurped by the atomization of mirrors into our hands and instagram as the new form of glass, etc. a new glass further catalyzing capital's individuation and fracturing the social mythos and accelerating postmodernity's collapsing of grand narrative, that CAD, for a brief minute, relit, CAD, arguably even unconsciously lit itself on this desire for this myth of narrative, progress, of even just keeping record. It was the biggest, shiniest glass.

This now transformation into a tentacled curatorial being exchanges its myth of linearity for curations construction of individualized "voice." No longer attempting consolidation of an "artworld" (however arrogant) but instead giving curators a chance to attempt their opposite, build their names "voices" for their vision. Again however flawed or doomed a singularized vision is, it stands out amongst the massive fractalization of pretty much everything else. CAD was reliably two shows daily, Sunday only one. 8 years ago that had felt like drowning. Now it is a welcome relief against further orgiastic image hydrants, put your lips toward. And it is noteworthy that these new curatorial names come with CV attached, "Tenzing Barshee is an..." "Erin Christovale is the..." Interesting because CAD arosen without credential, for whatever reason we gave attention.

Questions for your bookclub:
1.While Clement Greenberg ushered and reigned in an era dominated by chauvinist white language, could CAD be said to herald an era where no language exists, is instead negated by the sheer multiplicity of image, "given over to the visibility apparatus itself"?

2. Are Curators generally attempting to survey the field, or they are instead creating their own individualized territory or "voice"?

3. Is CAWD always a bit of a spoof of that clean white subjectivity-less authority?

4. Does CAD risk fracturing? After how many spigots? In the deluge, can more ever be a solution?

5. Would then the ultimate solution be a map as large as the territory is big?

6. Does CAWD place an inordinate amount of capital and importance in CAD? Is this a symptom of Stockholm Syndrome?

7. Since those with pedigree and institutional accreditation are the only players with power to legitimize and make visible, shouldn't we be paying attention to this pedigree, to those with this coronation anyway? Wasn't that CAD's great insight?

8. Why could CAD becoming over 10 years the major holding of artworld documentation and de facto bearer of the mirror without any previous pedigree be an important distinction?

Wilfredo Prieto at Annet Gelink

Whereas these image do well transacting through networks, individuals well conformed to images, the modern philospher stone held in your digitally connected hand for a moment of contemplation as you go about your day.

Kate Newby at Cooper Cole


Detail views. An enforced sight, enforced noticing. An almost moral underpin, asking for sight, a penance in attention.

see too: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Thursday, October 17, 2019

Past: Pedro Wirz

"We all fear for lumps inside us, unchecked growth, a malignancy, "matter out of place," "the contaminated diversities that proliferate in the dump." Fear of toxins, poisons, heavy metal build-up, of heavy concentrations of micro-plastics in the great Pacific beverage, in parts per million, in tumors, cysts, bio-cucumlative, they add up in sediments in your blood, fat, balls, monuments, these fears into nervous objects, art."

Pedro Wirz at Longtang
Past: Kate Newby

"attention to naturalism, to the brown you may have noticed in stores having enveloped our packaging to stand for its green. .... Like the trend in homes, bars, everyone hauling reclaimed wood by the tonnage deep into the city, mass producing the natural, 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."

"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.  ... removed all the signs asserting "scenic view ahead."

"... any sufficiently complex sidewalk is indistinguishable from art."

Read full: Kate Newby at Kunsthalle WienKate Newby, Daniel Rios Rodriguez at Nicelle Beauchene

Wednesday, October 16, 2019

Past: Julien Ceccaldi

"It is no coincidence that devotional paintings contain the same figurative depth as a iPad screen..."
"I've never been a Disney Princess, but I have been a corpse."

click here for Julien Ceccaldi at Jenny’sJulien Ceccaldi at LOMEXJulien Ceccaldi at Koelnischer Kunstverein
Past: Anne Collier at The Modern Institute

"'appropriation' post-internet is different indeed, no longer political or even contentious... It was perhaps the youtube era of Supercuts, garnering millions of views, tumblr collections, pinterest boards, the age of aggregators and the lines outside the door for Marclay's Clock, arrangement itself became meaning, content, "appropriation" went full populist. In the absolute deluge of images as the doors of internet opened it made sense for the archivist impulse to popularize, as safety, as people tried to make sense of the mess, of the overstimulation of everything all once, that could be divided arranged, made into little groupings of sense."

Tuesday, October 15, 2019

Latifa Echakhch at Dvir


These occasional perspective oddities, switches to god's eye view. Exchanging the usual viewing experience for a maximum the information. A maximum information which stands in for the viewing itself, a purely fictional realm made for documentation. "Like a cartography on the ground" like god arranging his terrain, the pins on the map arrange the world, only the overseer, the omniscience we crave.

See too: Jessica Vaughn at Martos

Monday, October 14, 2019

Julian Stanczak at Diane Rosenstein


OP art never seemed to get its due. An alter history to Minimalism. To which Op art was anathema, a reliance on our immanent biology instead of grand truth, axiomatic objects, specific objects. Op art was fucked up in comparison. Slippery, psychedelic, subjective. But with the current legitimation of  psychedelia like the neosurrealism before it, we can expect the retroactive rise of its forebears.

Saturday, October 12, 2019

Ben Schumacher at Weiss Falk


Trading one techno for another, all the gloss of server racks, acrylic and glass exchanged for a roughdraft music fest. The success of fail of this artistic gamble, trading laser cut aluminum for cardboard, is placed on whether people cared for your ideas or that your art had looked like a new idea. It is a proposal.

See too: Ben Schumacher at Musee d’art contemporain de Lyon, Ben Schumacher at Bortolami

Daan van Golden at Micheline Szwajcer


Wasn't the promise of van Golden's some eternal nubility, a candy whose wrapper never left it.
A sort of perenniality. Old paintings that don't look it. van Golden died in 2017, but paintings fresh. Wasn't that the promise of art. You physically cannot remove the wrapper.

Thursday, October 10, 2019

Juliana Huxtable at Reena Spaulings


Difficult to write a history of the internet without mentioning its catalyzing a complete restructuring of identity that had been then slow simmering. The early dictum "No one on the internet knows you're a dog" had its counterpart: "No one on the internet doesn't know you're not a dog" and thus the furry. This was a miracle. Be who you were. An immaculate conception the IRL has yet to absorb and thus the Brillo pad friction when it irrupted in. We binged cartoons as Disney children to manifest them later in Goofy costumes, the Saturday morning cartoon education we devoured alongside hyper-processed cereals mapping our internal worlds in the same malleable cartoon goo. The world a cartoon, at least make yourself an artist.

See too: Juliana Huxtable, Carolyn Lazard at Shoot the LobsterEva Fàbregas at Kunstverein MünchenLisa Yuskavage at Contemporary Art Museum St. Louis

Wednesday, October 9, 2019

Since the Venus of Willendorf's tiny talisman, 30 thousand years of humankind's representing fetishizing, totemizing the maternal. Leading today to Yuskavage's ambrosial hazes. The feast of the Vanitas' balanced by looming overripeness. For Yuskavage this balance to its too-sweetness is made through its subtle representational violence against the women depicted, who in attaining this otherworldly ripeness are subject to subtle deformities, missing arms, noses, butts like egg sacs, breasts manipulated by invisible strings, contorted and culled to the desires of a culture. And Everyone wondering whether Nicki's butt is real, furry porn grown from Saturday cartoons given bodies like overinflated water-balloons, and subsections of violent pornography where the maternal is extracted and policed by the programmatic systems of capitalist production, in bondage and milked called human cow - there is a lot proving our cultural relation to maternal is at least a little fraught, and Yuskavage's paintings are a very tasteful representation of that.

Tuesday, October 8, 2019

J. Parker Valentine at Misako & Rosen


Lines, they delineate. So, failing to produce the object, the quasi is given to viewer, an inkblot, a form they construct.  "difficult to articulate" the PR says, becomes painting of a mirage, handing the goo to a viewer left to sort spaghetti formed lines like tea leaves in you all along. Pareidolia.
Past: J. Parker Valentine

"expectations of legibility, depictive of some tip-of-the-tongue subject within a library of means detailing the amorphous thing it circles but fails to produce. There is the lure of subject object, the thing that will at any moment manifest itself in the definitive lines of drawing"

J. Parker Valentine at Juan and Patricia Vergez CollectionJ. Parker Valentine at Park View

Monday, October 7, 2019

Jeanette Mundt at Overduin & Co.


Of gymnasts, the paintings lack their subject's deftness. Motion is given to a square smear. Instead Mundt's exude something permanently flat, dry. A relation to their subject is ambivalent despite their load. Mundt often targets content that is full of juice, yet is left on canvas to fall apart. A gap that reviewers seem unable to fill with their own: Travis Diehl seemed to conjure the process of glaucoma's blindnessTess Edmonson said about the film on which a painting was based: "the gallerist warned me not to watch it"; and Zoë Lescaze aptly called it "ready for viewers and critics to plot their opinions onto her body." Her body of work which fails to deliver on the subject. Failure isn't an interesting painting strategy in 2019 - we did that ten years ago -  but maybe a generous read is that these aren't so much failing as crumpling, like car hitting its subject.
Past: Raúl de Nieves

"Too much decoration... We call it 'gaudy' or 'garish' or 'lurid' or 'vulgar' no longer arranged but vomited in quantity, too much, like the clowns who baroque their face to comical levels, found frightening, a rupture of the socially decorous. Because these are ethnocentric terms, wielding the symbolic violence of 'taste,' and such it is rare museums didactic their greek statuary with 'this greek marble would have actually been caked in makeup, like a whore' preserving both the marble and myth of white antiquity."

read full: Raúl de Nieves at Freedman Fitzpatrick

Sunday, October 6, 2019

Shimon Minamikawa at Lulu Annex


"fraught tradition of painting and repetition. One thinks of everything from Morandi’s heartbreakingly beautiful depictions of vases and bottles to On Kawara’s dry, no frills paintings of dates. The German painter Peter Dreher’s commitment to painting the same exact drinking glass for decades comes to mind."

would like to think of CAWD in this way, repetition, attempting to bracket something, everyday looking at the same glass. 

See too: Glass

Saturday, October 5, 2019

Tom Humphreys at Christian Andersen


While Hupmphrey's gang has gone onto bigger better things, Humphreys doubled down on the stupid. Paintings like found in the bins of art school. The revulsion we feel at "bad painting" becomes proof of at least some internal power of painting. The Kippenberger game of self-infliction without the personality panache to recoup it, instead, again, paintings that don't relieve their stupid, but rub their face in it, even yours. This could be a Vittorio Brodmann or Nolan Simon situation, in which the slacker ruse eventually decurtains its prowess, reveal eyerolling deft brushwork, but Humphreys seems like someone who might commit to mud.

Friday, October 4, 2019

Past: Amelie von Wulffen

"...the history of painting comes like bruises into von Wulfenn's paintings. How images batter through time. We have memory of how painting was, how impressionism was painted, but it's wrong, like your head full of hangover, a painting full of malfunction, its shipment through time arrives damaged."

Thursday, October 3, 2019

Margaret Honda at Carnegie Museum of Art


A press release that leaves nothing to the imagination. The firstly described "enigmatic" is quickly revealed from under the rug as reference. We get it.

Wednesday, October 2, 2019

Lucie Stahl at Queer Thoughts


Stahl's PR placing in it, in the lineage of a romanticism, darkly what we have come to. No longer the romantic era representing ourselves as fathomless depths, standing in front of nature's crashing; we are now better feared as plumbing: oils, flows, pumps, fluids directed, misunderstood as monsters. The human body is indistinguishable from any sufficiently complex sewer. And while the gothic has had a resurgence in style, [see: Digitalat Centre d’Art Contemporain La Synagogue Delme] there is an undercurrent of a few who find gothic horror in mere reflection of the world. [see: Morag Keil, Georgie Nettell, Gili Tal, Will Benedict, Merlin Carpenter] This is our modern not southern gothic. A world already dripping black nightmare, that we pump from the earth, have constructed our world out of; Stahl:"the fluid fruit of their labor allows us to express the feeling we got used to calling freedom."  to which Henning Bohl states earlier: "Lucie Stahl has become the oil." That this all's apparent freedom may have only just come to feel like. A product pipe-capable. Art as fluids, pipes, same as any other product. We all are forced to become fluid, make a product for channels, be pumped. Morose in banality, yes.

Past: Lucie Stahl at Halle Für Kunst Lüneburg, Cabinet

"the specificity of their slick digi-crust-materialism and resolution-as-sex, we loved, the scanner trash prints: what everyone else was at such pains to display with existential and overwrought, like, expression, Stahl had turned into cheap easy and fast slacker products that got closer to the existential dread of that material-reproduction by embodying all its cheap easy fast sexy disposability."

full: Lucie Stahl at Cabinet, Lucie Stahl at Halle Für Kunst Lüneburg

Monday, September 30, 2019

Lutz Bacher at Galerie Buchholz and Sarah Rapson at Essex Street

(Clockwise from top left, Lutz Bacher, Susan CiancioloSarah Rapson, Park Mcarthur)

Yellowing archive.

While early Conceptual Art was interested in the document (the instructional as a virtual, a program, cerebral) its second generation is a bit more lossy, interested in the fossil, more precisely the fossilization, that slow decomposition into eternality, history. Recoups its own acidification, hazing, foxing, all the condition reports it will accumulate. This "second generation" invests in the degradation of generations of bootleg tape. Fossils existing as strange evidence of a world. a pathos in the materials we find to mediate our touch to the world. ... The objects here, designed for ourselves, infer something about the bodies which they govern.

It would not take a freudian to posit why particularly women appear to be more sensitive to material conditions of the world. Like, while Kosuth was concerned for all the mysteries of "Chair," Wex and Mary Kelly were like yes, but we also get pregnant. The "cerebral" of men's white concerns was treated as the higher plane and, for all its agnostic posturing, the "conceptual" allied itself with a reverence akin the religious divinity it ostensibly exiled. Men, oblivious to their own bodies that had never been in question by culture, had the privilege to etherealize themselves above everyone's heads to some assumed universal while women's were increasingly entrenched in politic ground war.

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 lifted 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. Edward's balls coagulated these castoff bodies minimalism so desperately wanted to forget."

the body is expressed not through "figuration" but its intermediary.. Think of Cady Noland's institutional objects, learning something about the specifics of flesh under society. Of elder's walkers and handcuffs. We make objects for ourselves and so of course they express us. And eventually they exist for so long beside us, silently shape alongside us, that they begin to take on facets and express things that were latent, learning by proxy.

And today we are so acclimated to objects and commodities adapted to us that any object blurrying suggestion for the function they provide (to us) produces an uncanny effect. We say they look otherworldly, alien, simply because we don't know what good they are to us...

Knowledge is kept on rapidly acidifying papers, stored in databanks we anodize against oxidation in deep storage basements to feign permanence, our security. But the world slowly deteriorates, look into the issue of archiving, it's complex nuanced and impossible, it's baby blankets spilled on, barfed on, a biological archive cum Banker's boxes purchased by the gross. Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone

which Bacher recurringly recall, cosmos xeroxed 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. This recurring theme. The biblical "for dust you are and to dust you will return" is, as far as we know of entropy, scientifically accurate.

see too: Susan Cianciolo at Modern ArtMarianne Wex at Tanya LeightonSer Serpas at LUMA WestbauGhislaine Leung at Chisenhale & Essex StreetLaurie Parsons at Museum Abteiberg, Park McArthur at ChisenhalePark McArthur at SFMOMARichard Rezac at Isabella BortolozziHenrik Olesen at Schinkel PavilionHenrik Olesen at CabinetHenrik Olesen at Reena SpaulingsPati Hill at Essex StreetKlara Lidén & Alicia Frankovich at KuratorMelvin Edwards at Daniel Buchholz
Past: Richard Aldrich

"Aldrich's befuddlement of the terms and conditions of paintings makes for obtuse, tangential starts digressing from those painting histories generally acceptable as beginnings. If the paintings seem facetious or frivolous it is because Aldrich doesn't necessarily venerate the histories that are painting cannon, and so which attaching almonds to a painting is not only a thing to do but becomes naturalized as a term of painting - possibly - as all the talk of flatness once was, to be premised as a deduction of the ontological structure of painting rather than some rhetorical hubris..."

"Because surely there is actually a fool doing this full time."
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 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)

Saturday, September 28, 2019

Contemporary Art Quarterly: Richard Aldrich


"...At the artist’s request, this archive differs in format from the others we’ve published—it includes only installation views."
What is the gallery but the wreath, the coronation, lighting bestowing your anointment like a halo. No gold frames required because white real estate provides the gilt. Installation views that attempt to distance “painting” from the hegemony of its image - to ostensibly preserve it from the porn trading cards they’ve become - seems naive at best. Privatizing it simply finalizes the gallery as the accreditor, art a fiat currency.

Friday, September 27, 2019

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

Thursday, September 26, 2019

Lucy Bull at High Art


Psychedelia; Google deep dreams of Kahlo's flowers. Vulvas like volcanos, magma, geologic surveys. Abstraction was once "what you see is what you see" until what you saw became convoluted, full of hallucination and sexual .  The press release says as much, and is good to admit as much, our complete return to surrealism. With better psychoactives. Surrealism works for today as art must be a fount eternal, and so the point today is to overlay as much as information as possible, until it blurs, slips, make inkblots with lsd.

"The boringness of Google's "Deep Dream" project was in making explicit the pareidolia latent, [what was] hidden in carpets and noise and threatened distrust in seeing, those momentary misrecognitions and ghosts in corners. Humans are apophenic machines - made to "see things." The inkblot innuendo was an essential of abstraction that was far too impure for post-war painting to deal with: it would have limited abstraction to the mere human, like Cecily Brown's meaty innuendos, very untranscendent in an era when people were throwing around the possibility of universals. Op-art was a cheap imitation of the purer form's sanctity; Op-art rested on physiologic parlor tricks of biological mechanics rather than the more strict and thus universal forms of abstraction that could communicate with dolphins and gods."

see too: Larry Poons at Michael Jon & Alan

Fabian Marti at Peter Kilchmann


Your exhibition against the wheel of time is asking for exhaustion, defeat, which this is. Kawara stated himself alive though, pointedly, not necessarily well. As if consciousness was enough. Distance of 10,000 years recedes everything to pinpoints anyway, reduced to binary, alive dead on off. The system denotes what is on/off. Capitalism it is selling/not selling. Art, show/noshow. So just whatever, put yourself out there, as if enough.

Tuesday, September 24, 2019

Past: Oscar Tuazon at Le Consortium & Paradise Garage

"See, generally these things are so boring and ubiquitous, we don't notice them. These everyday things. So Tuazon uses all the common ways of making things, but assembles them in different ways that our brains aren't bored with, that allows you to recognize or see what your brain would normally be too bored to see. So you notice even the boring stuff. See he has a feti-, er, intense affinity for the protestant, er, blue-collar, or like, see, he appreciates the common job, son. The vernacular, er, that's why nothing is that spectacular, that interesting. The muted tones. It's a moral ethic, son. Have you ever seen Bruce Nauman's "Setting a good corner?" ... or like those dog-eared books with cross-sections, cut-intos, of like houses and steamships? See Tuazon's sculptures are like that. You get to see everything, you notice the structure, you glean a moral appreciation for hard work. For the structure, son. Yes, son, endlessly romantic..."

Oscar Tuazon at Le Consortium & Paradise Garage

Monday, September 23, 2019

Sergei Tcherepnin at Company


Blinky lightbulb art.
We like paintings that "do things," we conflate a critical function with any function, and so when paintings sing or beam its a short cut or short-circuting this need for "function." Tcherepnin's were always sort of tasteful reserved forms of this "functioning painting" positing a perhaps real interest in their sounding that just happened to be packaged as paintings. The move into Brätsch INSTITÜT for mass-production lines of "content" - built off the Genzkenian insight that production is art, is always content, producible at any speed - seems to renege on Tcherepnin's more sound interests, into full blow collage-electronics school of the last 5 years that apparently has not completely burned its lightbulbs out. Somewhere a joke about how long these bright ideas, bulbs, last.

"Every 10 years assemblage reinvigorates itself as the dumpsters picked through are modernized to the current castoffs and appear new, the waste that evolves along culture until finally an artist is able to rummage up enough LEDs, acrylic panels and Arte Povera catalogs to accumulate the update to our Rauschenberg cardboard clogging the pipes of our forward progress."

See too:
“Lemurenheim” at Meyer KainerEi Arakawa at Kunstverein DusseldorfKerstin Brätsch at Gio MarconiDAS INSTITÜT at Serpentine GalleryKAYA at Deborah SchamoniKerstin Brätsch at Gavin BrownAmy Lien and Enzo Camacho at CCS BardAmy Lien and Enzo Camacho at 47 Canal (2)Amy Lien, Enzo Camacho at various locationsAmy Lien & Enzo Camacho at 47 Canal (1)Ei Arakawa at Taka Ishii & Peter Halley at Modern Art
Past: Lily van der Stokker

"Lisa Frank feminism posits an ironic fuck-all to neurotic questioning of gender paranoia's possibility of stereotype, of pink; e.g. “Parenting the non-girlie girl,” “Loving Pink for Boys, Haiting it for Girls,” “Pink and Blue,” “Toemageddon 2011,” “In Praise of Pink Polish,” “When did girls start wearing pink” “Saving our Daughter from an Army of Princesses,” and “What’s the Problem with Pink Anyway?” A baseline existential question: how am I not myself? I can be who I want to be, but will everyone know that I am being who I want to be? recursive mise-en-abyme into self’s abyss..."

"The cute design abutting flat footed niceties. That despite greeting card's insistence of overflowing sentimentality, van der Stokker’s skepticism over the clean pre-packaged prose instead inserts the more human version of awkward phrasing, misguided explanations and childish self-congratulation.."

Read full Lily van der Stokker at Koenig & Clinton, Lily van der Stokker at Air de Paris

Sunday, September 22, 2019

Kinke Kooi at Lucas Hirsch


What one could consider eccentric art and its rarity. Despite an entire contingent of culture ostensibly pursuing it, something outside bounds of normalizing walls. Instead just hordes of art. These touch eccentricity, but appear not lost to it. It having to do with the current state of cultural affairs.

Saturday, September 21, 2019

Group Show at Center for Contemporary Art Tel Aviv


Tech industries move faster than art, are more powerful widespread and dominant than art. Our tinkerings with it, which begin to feel like compositionalizing its looks, are like cargo cults to an industrial god. They are all powerful and we build primitive totems in our churches to give an impression we understand. Theists believing religion make rain.

Thursday, September 19, 2019

Past:Karl Holmqvist at Sant’Andrea de Scaphis

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

"A rose is a rose is a rose, there is a long history of this use of semantic satiation: the repeated arousal of a specific neural pattern causing "a reduction in the intensity of the activity with each repetition" - effectively numbs like our hands our ability to perceive them with any force but some wide flat plainness, deprived of structure to give its words lifeblood like sucking nitrous from balloons until the world dissolves into a stupefied vertigo, and we feel the noise, the static of our brains deprived.

Read full: Karl Holmqvist at Sant’Andrea de Scaphis
Past: Alvin Baltrop at Daniel Buchholz

"His situation's precarity, a gay black man in the 1970s, is expressed on the surface of the photographs themselves, in its tentativeness, his body's extreme vulnerability."

Read full: Alvin Baltrop at Daniel Buchholz

Wednesday, September 18, 2019

Past: Judith Hopf 

"Each brick lain a decision by the artist to continue."

Read full: Judith Hopf at Museion, Judith Hopf at kaufmann repetto

Marguerite Humeau at Clearing


An excess of reference. B I O M O R P H I C. Biologic inkblots. 2010's Surrealism has metastasized into camp, into theatrics. Once clocks melted, now whales do, stretched, ballooned, dragged in the virtual and dropped in the physical, cast in medical looking material (which is its own trend). Ten years ago we all thought Matthew Barney was too much, now look at us. We've literally reinvented him over and over.

See too: “Being Thing” at Centre International d’Arte et du Paysage & Treignac Projet,
Past: Kaoru Arima

"Drawing was at one time a knowledge. Drawing of fetuses cut from cadavers were cutting edge science. The limits of knowledge were defined by looking at something really hard. When science and tech jettisoned oils and pencils from its repertoire modern artists got mad and crushed representation into something resembling a crumpled Coke can, seeing all sides at once, and this violence was lauded. "
"...human features bludgeoned to bloom bruise, bouquets, or apply rictus like geometries, portraits of a stroke. On and on painters rushing to injustice portraits... Here, the face is more figurative idea, an outline, a Jawlensky like framework for which to hang wanton libidinal paint. ...We find its horror almost playful, cute, even interesting, a learned tolerance for pain."

Read full: Kaoru Arima at Misako & RosenKaoru Arima at Queer Thoughts

Tuesday, September 17, 2019

Kelly Akashi, Cayetano Ferrer at PP


More exhibitionist materiality. Open the wardrobe to expose the wood. We so desperate for some woodgrain to counteract the glass we see everything through. We crave touch, sensibility, sense, something to counteract this numbness from everything electric, world rendered. This materialist becomes conflated with the authentic, the rustic. Stripped. But, no matter how much you want it, do not touch the art. Leaving everyone with a case of erotic sexual denial.

See too: Olga Balema at High Art (2) Olga Balema at High Art (1) Olga Balema at Bridget DonahueDaniel Lefcourt at Blum & Poeektor garcia at Cooper ColeN. Dash at Casey Kaplan

Monday, September 16, 2019

N. Dash at Casey Kaplan


These are bit more compositionalized, more arty, but at base they are still the butterflies, material, pinned behind glass, catalogs of physical sensations you see but cannot touch. Materiality porn. "...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 [build] a materiality so strong it visually empaths itself, that we could actually feel something through glass.""[these,] images, unable to be tactile, to make sensuality palpable irrupts strange fetishes: pornography must materialize its sensitivities by finding visual equivalents for touch. " "Bodies that photograph well." "Our touch, now more than ever, comes from sight, comes from packages of it in the high definition of images and advertising, we feel through sight"

Olga Balema at High Art (2) Olga Balema at High Art (1) Olga Balema at Bridget Donahue, Daniel Lefcourt at Blum & Poeektor garcia at Cooper ColeN. Dash at Casey Kaplan
Past: N. Dash at Casey Kaplan

"swatches of touch, the anthropological preserves of our dissolving physical world. These are like catalogs for its remains, our once sensual pleasure distributed 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, like all those salvaged wood paneled Brooklyn bars, churches for mourning"

Read full N. Dash at Casey Kaplan

Sunday, September 15, 2019

Hilary Pecis at Halsey McKay


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


"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


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


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


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


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


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


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


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


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


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


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


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.