Friday, December 4, 2020

Contemporary Art Writing Quarterly

In case you’d like to spend a while absorbed in anything other than listless documentation of art, you might like to visit Contemporary Art Writing Quarterly, where we publish deeper, uh, "expanses" on art. Pick your essay below:

Past: Thomas Eggerer

"The painting’s tension exists in whether or not Eggerer cares about his subject matter. Richter may have shown care for his but then masochistically bled it, and as this cold blood trickled down, through Tuymans and Sasnal, it finally reaches the ambivalence of Eggerer’s young men as vessels."

Thomas Eggerer at Friedrich PetzelThomas Eggerer at Richard Telles

Thursday, December 3, 2020

Daisuke Fukunaga at Tomio Koyama & Jasmine Gregory at Karma International

(Daisuke Fukunaga at Tomio KoyamaJasmine Gregory at Karma International)

It's a particular type of figuration we're experiencing. The body is subservient to style. Becomes decor. Sometimes this cruelty is fun, theme. Sometimes the body is just decor, a pipe for service. 

See too: Koak at Altman Siegel

Wednesday, December 2, 2020

Catalina Ouyang at Lyles & King

Like Scifi, charred and melted. Like Matthew Barney's Silent Hill. Like a phantasm gone bad. Spoiled fantasy. A darker more evil drawing. An oil painting of your mother dead for her 60th birthday. 60 candles burning.  Blood letting to amuse guests. Asking god to hit you. Not asking about certain stains on your boyfriend's sheets. Oh this clown suit? No. A specific detail no one asked for. A dog no one remembers missing. A shelf full of books documenting a very specific historical massacre. Christmas. Wounds before penicillin. Burial grounds for the French. You open the door to find a wiggling mass. Wetness spreading. Lawnskeeper's sheds. European forests. Men in colonial uniforms. Puritans. Deformed by primitive science. The dark unbridled night. Children in wet coats. Forced to carry their young. Trees that have done unspeakable things. The town's records placed into a coal fire. Vast quantities of underground earth moved. Children lost to mines. Civil war bone saws. Early submarines. Comfort homes. History's bruise. Folktales become truth. Deer with a misaligned face. Horns of plenty.

Tuesday, December 1, 2020

Whitney Claflin at Bodega


tangential painting circling but never quite anchoring, stylistically. The goopy dripstractions are the best we could call a Claflin style/theme, but everything else fighting to rebut this signatory. This is the tangential theme, non-linear moves, a sort of Richard Aldrich befuddlement of the terms of painting, a genre which is like alt-rock, an alt to painting that doesn't say no to dad so much as use lipstick to differentiate itself as alternative. 

See too: Richard Aldrich

David Shrigley at BQ


The merch table. Monet on a placement is sadness. But Shrigley on a placemat is acceptable, it was already kitsch. The irony which justifies, lubricates, the trinkets: "ha ha I'm not buying this with seriousness." Somehow it makes buying garbage feel like relief from responsibility for it. 

Saturday, November 28, 2020

Jean-Luc Moulène at Chantal Crousel


Moulène riding fine line of decorative tripe and experiments unnerving enough to shrug easy swallow - a straddling that tensions each. Moulène always threatening to fall into the high powered kitsch of Urs Fischer or Ugo Rondinone but never actually doing it. The automotive sex of the purple shiny thing is made explicit by the inflated concrete tits, its latent sex unhidden.

Friday, November 27, 2020

Nancy Lupo at Sydney


Stuf becomes subject. Curdles a skin, a flake to slough. Contaminates, spreads. "Disposable." "Flushable." Problems in city pipes, amassing with congealed human grease to create clogs from hell. "Behold The Fatberg: London's 130-Ton, 'Rock-Solid' Sewer Blockage" A world unable to contain our disposability. Reamasses elsewhere, waiting in the night, leaking nightmare. Find toothpicks in veins. Lupo's associative juicing. The process of paper making and the accumulation of sewer blockage aren't that different. A more human pulp. A calendar of waste.

See too: Nancy Lupo at Kristina KiteNancy Lupo at Swiss InstituteNancy Lupo at 1857Nancy Lupo at Antenna Space

Thursday, November 26, 2020


"The Gerberian support's proposal of a third party in the usual object/viewer duo, a middleman standing watch to serve you the art ... The general supports of art - walls, lights, pedestals - are cold inanimate and, generally, ignored, and Gerber's proposition, their filling with blood, sedimented subjectivity, makes the walls seem alive and watching, that though they are painted white they contain just a different behind in them."

"Objects Curated to displace their center, their aboutness, diverting it to dissolve and we looking around, feel a presence, the object juiced to mean. The dumb object speaks in the noise of the viewer reflected."

Read full: Gaylen Gerber at Emanuel LayrGaylen Gerber at Studio for Propositional CinemaGroup Show at Emanuel Layr

Wednesday, November 25, 2020

Fredrik Værslev at Gio Marconi

"The electrified corpse of symbolism." Made to jitter again. Not just flags, stained flags the audience gasps, amazed at the corpse twitching. The symbols already existed, the idea already existed in Johns, but these paintings pull the corpse out for display again. A dead thing. Stare into the abyss, the abyss give back to the theater of your skull: this is called Prisoner's Cinema, a lack of stimulation causes the perception of phantasms. We write 10,00 word essays expounding the ghosts. They're symbols. They point. That's what they do. You perceive a content, like a corpse. But that's not grandma laying there.

Past: Nancy Lupo

"Like eye goo, stuff's service is its waste, a continual sloughing, so we can remain fresh, clean. Stuff accumulates, piles, is shed. Stuff is quasi things, is transient, transactional. A disposable fork is, like, quintessential stuff.."

Read full: Nancy Lupo at Kristina KiteNancy Lupo at Swiss InstituteNancy Lupo at 1857Nancy Lupo at Antenna Space

"... smoothed and well worn into comfort: the softness of acid-washed history, whose untreated denim is stiff, abrasive, and has edges that Værslev happily washes away, with the already pre-distressed historical material."

"There is no trap set, no one is going to “read into” these, only conceptual fracture of others moves loaded onto a canvas to re-package it as virtual corporate franchising... everything stolen and printed. A race to the bottom in derivative deflection en abyme. Not so much preferring not to, mass producing it."

Read full: Fredrik Værslev at Bergen Kunsthall, Fredrik Vaerslev at Centre d’Art Contemporain Passerelle

Tuesday, November 24, 2020

Tau Lewis at Cooper Cole


Irrupt your desire into space. "meant to resemble a light-filled womb. ... sculptural textiles reflect on non-gendered motherhood and gardens as sources of knowledge and growth. ...tells a story of joy, freedom, and triumphant love." Scraps rearranged to manifest new reality. That we are imagining. We used to think the gallery provided critique, but we'll take fantasy, a different world.

Thursday, November 19, 2020

Marte Eknæs at A MAIOR


Safety products not only abating hazard but highlight its possibility. A potentialized air of drama that we'd love to accumulate on art's stage: at any moment calamity, at any moment circumstance. There is said to be "a situation." Sort of like an "experience." Even this weak force in the real Painting wishes it could hold such potential. Some previously invisible thing be felt.  The "layers of infrastructure that determine experience."

see too: Marte Eknæs, Sean Raspet at Room East

 Past: Marte Eknæs, Sean Raspet at Room East

"Fincher turned the 'Calculation of Negligence' into nihilistic mantra for millions of angst ridden boys, finding solace for their jade in a new schizo-sado-masculinity, solace in a brutality ending in terrorist fantasies of high-rises burning. It felt like relief. The main character's lavish condo exploding from a gas leak was ostensibly the best thing that ever happened to him. The non-accident we later learn is a symptom stemming from the very repressive bourgeois lifestyle it destroys. That the terrorist act was itself an expression of late-capitalist detachment, the same thing that Baudrillard would later claim in his "The Spirit of Terrorism" that capitalism expressed a sort of auto-terrorism, boredom itself bringing the towers down. The Pop success of both at least clarifies the latent cultural desire we have for the fantasy of watching the world burn so long as they are sublimated (make us able to believe we would never actually desire to see them enacted) through the filters of acceptable and neutering forms, pop-film or philosophy, and here art."

Read full: Marte Eknæs, Sean Raspet at Room East

Wednesday, November 18, 2020

Antoine Catala at 47 Canal

A dance to do nothing, an alphabet respirates. A life support to language, get it, and we get our aspiration: "the politics of breathing" or "confronts the reality ... struggling on life support."  Made to jitter, on life support, the electrified corpse of symbolism. A gesticulation to command the attention, get the breath it demands. 

And we think to ourselves, at least it's not another neon.


"... 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? ... that coercive calm of advertising, self-help, bait-and-switch sell. Haven't we grown numb to this friendliness, surely we recognize not everything is okay."

Read: 2019 Venice, Antoine Catala

Tuesday, November 17, 2020

Megan Marrin at Queer Thoughts


Showers as prisons, cages. Dark historical undertones. Even if these are "Edwardian" "wellness" and "welcoming"(wut) there's something about "mechanistic" and "shower" that will always dredge some historical subconscious. These are the afterimages of such. (Rid of flowers, we are the ghosts asked to inhabit.) If Foucault were alive we'd already know the spa is a prison. But he's dead and these linger with some notion of. I keep thinking of that Carolyn Lazard quote, the "uncompensated labor necessary to reproduce oneself day after day." To keep oneself "clean." To keep oneself viable. And painting to touch such nerves.


"... an obvious precursor to interest in cultural artifactification and art's white light used as anthropological study ... The world is alive and humming with the energies that conceived an object as well the current emptiness inferring the ghosts that will inhabit it...  A door handle infers a maker and user, and art is the Fried-ian stage that plays it. 

Read Full: Lewis Stein at Essex Street

Monday, November 16, 2020

Wanda Koop at Night Gallery


like Jawelnsky's heads, which whose anatomy is just the excuse to hang paint. Gives it a reason, the face arranges the paint, like furniture. 

See too: Heather Guertin at Brennan & Griffin 

Saturday, November 14, 2020

Timur Si-qin at von ammon co

An ad campaign for the earth? There's a pitch deck (or "white paper"), a .faith website, and an essay proving this isn't ironic. Arguing capitalism and corporations as inherent historical extension of western judeo-christianity with all its implicit bad values. Which then using those corporate strategies to promote a new religion, which is itself, which is an artwork, for your display. It's all very en abyme. Ostensibly this is using the machine to kill the machine. Or at least a publicity project for a new religion to destroy the machine. A publicity campaign to end publicity campaigns. I might be confused with what floor of irony we are intended to exit on, but these techno objects are firmly pro-environment. The glowing landscapes are to make you appreciate the earth, or hate its rendering, I'm not sure, but they look like techno fantasy. 

Past: Timur Si-qin

"The techno-conceptual ... presents today’s shopping experience as yesterday's pagan rituals, the work’s ostensible entomopathogenic function serves to force its host, the luxury goods system, to self-expose. This is the Koonsian fantasy of the gallery, that objects put under its disenchanting light will perform a sort of auto-dissection. That ... advertorial objects act as critique rather than a mere transference of its subject’s fetish to the work itself ... As the PR states the exhibition is the “the mindless mirror,” that though literal and obvious - like the real use of such means - overt hamfistedness never lessens the affect, however stupid..."

Friday, November 13, 2020

Dozie Kanu at Project Native Informant

"Is there a distinction between furniture and works of art? Where do you fall on the spectrum?"
"Sometimes I make sculptures, but for the most part right now I’m making functional works. It’s a little bit less rigorous. Sometimes I feel pressured to load work with meaning—or, when the work doesn’t have a real function, you’re sort of trying to create a perceived function. As if it serves a purpose. Worth having an existence. That can be nerve-racking sometimes. I think it should happen very naturally, very organically. With furniture, the function is its purpose, so it’s still art in that way. You can still give it that same respect, but you can justify its existence immediately because you can use it, you know?" (interview in ssense
"But Kanu muddles the usual divisions, highlighting the way black vernacular making—slab culture, African textiles—is excluded from rigid notions of what art is and by whom it is made." (Review by Tiana Reid in AiA)

Kanu is right about the functional object. And one of the joys of a vernacular functionalism is the endlessly alternative, the elsewise arrival at a similar solution. Think Birney Imes documenting the solutions of an impoverished south. Kanu's project might be a similar mining of alternatives to an already existing solution, selling the artworld what it wants. 

See too: Jessi Reaves at Bridget DonahueMelvin Edwards at Daniel BuchholzMark Grotjhan at KarmaRobert Grosvenor at Karma

Thursday, November 12, 2020

Yu Nishimura at Crèvecoeur and KAYOKOYUKI and Komagome SOKO

(CrèvecoeurKAYOKOYUKI and Komagome SOKO)

either avoiding or lack a language for the most obvious elements of painting. Or pretend the obvious isn't. Speak to some ulterior, interior, some grand "meaning" just out of sight. Matisse painted incredibly stupid paintings of goldfish, even more of women, but we don't say that; we say, "Goldfish were introduced to Europe from East Asia in the 17th century." A complete non sequitur to painting. We pretend painting is too serious, handled with care. But it is the childlike wonky that is their enjoyment, the complete derangement of "cat" that may be their only fun. Look how poorly I can paint it and still might make you feel it.  But, "poor" is a subjective term masquerading as an objective one, an assessment tool of some biased hoodwink. We don't say that anymore. Which is why this cat looks like a pickle.

See too: Trevor Shimizu

Wednesday, November 11, 2020

 Past: L (the artist formerly known as Lazaros?)

"art's a witchcraft, disproved by the sciences, elucidated by sociology and psychology, in which a practice's material insistence affects a viewer magically: think tarot, images drawn and illuminated to bounce around in your head to alight some new substance inside, like any painting. The further you believe in the drawing the more deeply it affects. A potion for wealth eventually brings it through stubborn physical existence on your kitchen counter to remind you that's what you value, seek. Any object's aboutness, its meaning, it tautologically enacts like a string tied around your finger: the string doesn't necessarily intrinsically symbolize "pick up eggs;" its meaning is conjured by the reminded who tied it. Objects are imbued with meaning, even snakes humans are not primed to fear but primed to develop some emotional response to, blank slates all. Like art the trick is getting anyone to believe it enough to keep it in their home, tie it to their being."

Link: “Hecate” at Various Small Fires

Tuesday, November 10, 2020

Past: Pati Hill at Essex Street

"... that while the Pictures gen treated the world as image (available for all forms of permutable misdeeds), Hill's 1:1 copying seemed far more interested in the objects and their traces, not inherently its theft. Far more Gonzalez-Torres than Sherrie Levine."

Read full: Pati Hill at Essex Street

Saturday, November 7, 2020

Hadi Fallahpisheh at Efremidis

(Andrew Kreps, Efremidis)

There was nothing really "new" in Wade Guyton's rocket launch career. The "new" was a false-promise of a new technology for realizing old dreams, a printer for our unconscious. New tech, means, provides a look of promise, of advancement. And Fallahpisheh's more like Tala Madani's, better for its ancient and dumb themes in drawing dark projection screens. This is what drawing is. Old.

See too: Tala Madani at 303 GalleryWade Guyton at Academie Conti & Le ConsortiumTala Madani at David Kordansky

Friday, November 6, 2020

 Past: Hadi Fallahpisheh

"the virtualization of our white space made manifest with a blown out shutter. Letting the light in. That vertigo you feel when the floor falls out, little rooms traded for infinite white void, us floating. This is the world Fallahpisheh draws in photographically, would be the read here."

Thursday, November 5, 2020

Past: Nora Turato

"... The garbage of the 'infosphere.' ...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."

"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."

"Language adrift from meaning. There's always more meaning. Like crap to chewed gum, something will stick to it,  Our active pink lump that attracts and minds the dirt, clings to any interpretable speck of concrete information. And hold it for contemplation. Both advertising and poetry leverage our interpretable bits to their advantage, opening us like a can - I'm not sure if we are meant to enjoy these or feel once again dispirited by their abuse of our good nature - our tender top, berated."

Wednesday, November 4, 2020

Past: Ken Kagami

"And one way to feel better about the stupidity of the world is be the one enacting it. Allowing yourself to feel at the helm, in control of the thing that berates. 'Everyone in the world is acting smarter than me' is a more comforting blanket than what is likely our own opinions on bell curves and self ranking..."

"Stupidity becomes the vernacular of a world that is so saturated by it; we are awash in it, berated with it, nor innocent of it. Stupidity is to comedy what holding your breath is to drug expanding consciousness, practiced by primitive schoolyard psychonauts. Stupidity cannot be advanced through elegance or profundity, and 3 Standard Stoppages eventually evolves this raft of cranial blockages, an aspect MoMA says "to display the inherent indeterminacy of life." Indeterminacy sorta like stupidity, the big irrationality. Picasso in his underpants. "

Tuesday, November 3, 2020

Jennifer J. Lee at Château Shatto


Image is just a lure, and the fissures are the fence that keep resolution at bay. "the corrupted transmission of information" "the painting towards a vibrational abstraction." This is the fissure that allows the breath of interpretation, failling to fully complete its semantic transmission, and instead surface, texture, camouflage, phantasmagoria, mute.

Past: Julia Rommel

"and so Rommel makes the object structurally flaunt itself, give paint a stage upon which to display itself, paint, stripped and naked before us"

"A system of indexes, parading painting's material as flesh flaunted. The overt material presence is at the same time the "accidental" means of composition, providing reason for the material to be there, i.e. they're artifacts of a process so we're not reading into the color field emotions of the capital P Painter (of say Marden, Diebenkorn, Rothko) but as the residuals of painting's means which provides relief from capital M Meaning (Parino, Hesse), the great relief of things just being, or trying their hardest to."

 Past: Matte Representation (Jennifer J. Lee)

"Paint like suede. Leather, rubbed, treated. The point is the [soft opaque] surface, a shallow pool ... A plane to project on. Have you touched a movie screen, they're like this, bumpy and silver... A surface that warbles in little blots scumbled. ... a new type of formalism where content is created then made an aside, rejected, cancelled by the imbroglio of meaning."

"Call the exhibition Clue. The puzzles of today's painting in which their individuated flat symbols present a real mystery of a subject. Looking like de Chirico designed a board game. Soviet Realism for the icon age, new devotional painting. Colonel Rublev in the museum with a candlestick."

Read: Matte Representation (Jennifer J. Lee)

Monday, November 2, 2020


The romance of battle against architecture, as some have written it. In which the overt drama of rooms is rivaled by dumpy objects attended to. Kaier is seductive. The gesture of the artist's deliberation, hand, heightened to anxiety, makes unresponsive objects gain weight. 

"objects gain authority through compositional attention, (think Fried's theater and minimalism's staging), remnants totemized by a self-aware anticipation of the viewer, and arranged for them - is probably the best argument against speculatory theories. The arrangements anticipate the viewer, appear as though inhabited, sentient by the specificity of a logic which cannot be seen but inferred, winking, and attributed to the Wizard of Oz, an intelligent design from some immanent spectre, but really just a smokeless mirror and us believing again in ghosts.

Read full: Ian Kiaer at LuluIan Kiaer at the Neubauer Collegium

REDCAT at Contemporary Art Daily


Like fish bumping into glass, attempt to seek the limits of our experience, our aquarium of fantasy.

"...the ubiquity of installation views today (over the very obsolete taste for images of the paintings cropped of which here there are presented none) merely today's fashion, or is it a use of its authority. ..the empty whiteness surrounding paintings today replacing yesteryear gilt. ... the symbolic wealth of hundreds of dollars per square foot of galleries, or museums. Gold leaf is redundant to white walls..."

"sited documentation seems to be on the rise, and emphasized to dramatic effect, highlighting the gallery’s architectural ticks, absurdly so. That Berlin’s Tanya Leighton gallery, of which Sanchez highlights, despite performing the neutral painted grey floors and glowing white walls, is one of the more architecturally memorable galleries. ... the installation shot generally outnumber if not replace entirely the image of the object, even to the detriment of understanding the object. The site as the producer of the art object’s “aura” was established in different way by Boris Groys take on Benjaminian aura in “Art in the Age of Biopolitics” in referring to documentations (in terms of artifacts of conceptual art) need for the site."

"art itself is the realm that allows for this, our fantasy mmorpg; and it is the gallery that is the true virtual space, both everywhere and nowhere, excess in its ascetics. The gallery provides the fantasy of fantasy, that this is all somehow new, or even progress, that we're actually inventing something, simply because it exists."

"the white cube and its Matrix-like virtual space will perhaps become redundant to this physical de-locale, a fear of vertigo of a white space sent into hyperspace the gallery-space will need to self-locate, architecture will appear as a watermark to keep one foot on the ground avoiding the spins tumbling through non-space."

Saturday, October 31, 2020

Cindy Sherman at Metro Pictures


"Renowned for her depictions of female stereotypes" says the PR.

"From the first lightning bolts of Cindy Sherman's Untitled Film Stills, the artworld continuously electrified by depictions of women in societal bondage gear. Artists depicting the strictures that force women to conform to cultural mores; images of women made, if only momentarily, powerless or complicit. Which whose artistic doubling, or performance of, is the critique. ... And despite the critical intention's now obvious powerlessness to successfully confront or diminish such roles - as evidenced by its 40 years of continuous updating and still ringing true - Sherman et al. enjoy success in the market, press, and critical etceteras."

Critical etceteras amounting to mostly, "haha women are constructed."

Art needs to contend with the fact that - if its cultural critique was successful - it would outmode itself to that culture, make itself irrelevant. So what is 40 years of Sherman's critique? That not only is Sherman still successfully mocking the mores of "woman" but also the  re-regurgitations of Sherman-esque in younger careers. That, maybe, there is no critique at all, maybe culture just enjoys the befuddlment of women.

See too: Amalia Ulman at The Gallery at El Centro,

Thursday, October 29, 2020

Past: Danh 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 hokey possibility for art, for Vo the pre-christened becomes involved in the permutations of further embedding it in objects. ... The aura of art, of objects, is somehow smeltable, is made able to be repoured into new objects.... Vo is a factory for this witchcraft, for the production of belief in these ghosts. ... 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."

Read full: Venice 2019, Danh Vo, & at kurimanzutto

Past: Vincent Fecteau

"Fecteau's like architectural navels, the "complicated pockets" like ears or industrial labia. They resemble, brandish resemblance... 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

Wednesday, October 28, 2020

Pieter Slagboom at Bridget Donahue


Like, whereas outlines illustrate, designates (instructs), the contour line caresses, warms its figure with all its touch, not so much states its figure as rubs it. Probably why these look closer to surrealist frottage than drawing: the whole thing must be touched to make it appear. This is a metaphor. Humans aren't so much plumbing and cartoons as little haptic nubs that touch and feel and bone. "...your fingers developed small wounds from the pressure exerted on the pencil." "PS: I was disappointed because I could not feel the pencil anymore. The tenderness disappeared. [...]when I press down every day for a whole week.  Between the skin and the bone, finger padding begins to vanish, and the pencil makes contact with the bone, which is very very painful." You do not think the subject, but physical touch to manifest it. We get sick, a pandemic exists, and proximity feels like physical air, no meniscus, no barrier at all, everyone sharing each others heat. Spirituality seems to emerge as an any-alternative-to-this, escapes the restrictive cookie outline of "the normal" cartoon. And which, see here figuration too jettison the general cartoon delineation, drawing's outline becomes instead its Red Studio absentia, line its ghost.

See too: Miriam Cahn at Meyer Riegger

Tuesday, October 27, 2020

 Past: Victor Man at The Central Pavilion

"..brooding tinctures in the hieroglyphs of a new puzzle form of painting, the explicit clarity of subjects, revealed flatly, become illustrations of a mysterioized subject withheld. The more overt the “subject,” the harder we fall into its promise of illustrating something, meaning..."

Read full: Victor Man at The Central Pavilion

 Past: Gedi Sibony

"It had been exciting then, its barely-thereness, so slight, that "unfinished too soon" look we all at that point had craved, the provisional existence we felt stood in for life ... There was something so charming about its lack of artistry, the almost not art that it now just sorta looks like."

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

Read full: Gedi Sibony at Greene NaftaliVenice: Gedi Sibony at The Arsenale

Monday, October 26, 2020

Jacolby Satterwhite at Mitchell-Innes & Nash


The Matthew Barney libidinal excess launched it into the limitless - into the psychic space, the virtual as fantasy stage. A closer representation of fantasy in etherous technology. The virtual space is both new and the same - it the blank canvas or the chunk of marble - mere projection screens, space to manifest, desire. It is art itself that is the realm that allows for this, our fantasy mmorpg; and it is the gallery that is the true virtual space, both everywhere and nowhere, excess in its ascetics. The gallery provides the fantasy of fantasy, that this is all somehow new, or even progress, that we're actually inventing something, simply because it exists. But objects are not invention. Even in virtual fantasy. The pathos of Satterwhite is that it is old. 

 Past: Hélène Fauquet at Edouard Montassut 

"And we get pristine jpegs of bad ones, printed. En abyme, we tumble"

 Full: Hélène Fauquet at Edouard Montassut 

Friday, October 23, 2020

K8 Hardy at Reena Spaulings


The seemingly obvious in art shouldn't itself be a criticism since, well, Greenbergian abstraction was itself pretty obvious confrontation with some psychoanalytically blank wall stained with all those painterly headbutts of a phallic order. "less surface, perhaps, than receptacle" the press release nails. Just like all those stiff socks for male expression.

Sure it's yet another inkblot test for endless interpretation, but at least it's got a frame to shape it. Like tea leaves, like expression's seminal drips, this at least owns the navel it gazes with.

Thursday, October 22, 2020

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, an imitation game of filth, waste failing to crystallize packagability, use, the matter of bodies that meaninglessly accumulate, failing representation."

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

Wednesday, October 21, 2020

Past: D’Ette Nogle at Bodega 

'manifesting pedagogy and social reproduction in object form was never going to be exactly 'fun,' and the soft-authority is deployed with a humor so dry as to almost be nonexistent... and even when the stand-up exists it is deprecated to near loss, fury, all but calling the whole thing, whole project, the teacher that Nogle is as 'fucking losers.'" 

"And Nogle's interest in this loveably unfun thing we call bureaucracy seems to be for its hairy, ensnaring and otherwise tangly qualities. Enjoyment seems less important than the slowly painting and then identifying one's hands, yours and hers, with a faint perfume of red, so that 'you're going to regret clapping in the end.'"

Read full: D’Ette Nogle at Bodega 

Tuesday, October 20, 2020

Emily Sundblad at Campoli Presti


Will these become that asterisk you see in history books: "Sundblad, a 00s gallerist known for launching the careers of [vaguely still alive artists] also exhibited her own paintings at [several galleries you faintly recall.]" Betty Parsons Gallery exists more as myth now, and her art floats down to today as rare and impossible fragments. The PR already attempts something like mythos: Sundblad as an "exile" painting "plein air on a marble balcony of the Hotel Negresco in Nice." But wait! A romance we are warned against: "the Negresco’s owner once told Bill Gates that purchasing the hotel would be well beyond his means. This moldiness has no price, she meant: a time zone inaccessible to a contemporary technocrat." But I guess these paintings can purchase it, or attempt to own some of it. Why else tell us the vintage? Romance like a wine purchased on vacation and sold to your friends. Now you can own a bit of that french villa, a piece of the world before it sinks, paintings made before the world became techno. Souvenirs of history, however artificial. 

Monday, October 19, 2020

Sung Tieu at Emalin


Astrology like tarot cards finds alliance with art since the artwork has mutated to be less an object of beauty than a fount for interpretation. Art having gone from object to oracle. The point of art begins to be setting the spheres to rotate so they may occasionally align, a machine for semio-recombination we could call meaning. Artists become not merely the recombinators of signs, but the producers of machines to do this, to be turned to on, set to run. Endless interpretiblity becomes their function. This is art, possibly. 

Astrology: Ei Arakawa at Kunstverein Dusseldorf 
Tarot: Juliette Blightman, Dorothy Iannone at Arcadia MissaCaitlin Keogh at Bortolami

Past: Ei Arakawa

"turning an artwork to an interpretable state and blinking, tea leaf divination in sporty Vegas-odds inkblots. We're primed to see meaning in information, in art, particularly when so bright and shiny, and thus lots to be said, interpretation to be done, they'll pour forth all you are willing to extract from them. Perfect analysands. Like the wacky inflatable arm man drawing eyes to dealerships, Arakawa understands the qualifiers for "art," performing them with wacky panache, theatricalizing the artwork as a caricature of attention..."

"a system in which the production of artistic meaning is itself made clear as a series of gestures and movements that encode work with whatever aura is distinct to contemporary art separate from the objects subsumed."

"Arakawa's funneling of history into technologic codes (1959 Gutai represented on arduino Lite-Brite) [...] expressionist rendered binary, computational, circuitry and cells. History reappears, history still shines through, you get to exist as it...."

Read Full: Ei Arakawa at Kunstverein DusseldorfEi Arakawa at Taka Ishii & Peter Halley at Modern ArtKarl Holmqvist and Ei Arakawa at Overduin & Co.

Saturday, October 17, 2020

Trenton Doyle Hancock at James Cohan

A lot of artists have taken a lot from Guston with less honesty than this. Call those thefts the affect of Guston, the style stuck to painting. Very rare that someone goes to the sources themselves, the storytelling devices Guston himself stole from, comics or de Chirico. But it's a more interesting painting when you aren't just stealing painting en abyme. Things lose definition in endless mirrors. There are a lot more interesting things than painting. Perhaps Guston's cartoon point. The point of a politics, a concrete thing. And the comics are great.

Friday, October 16, 2020

 Past: Sylvie Fleury 

“Fleury suggests art can be liberated from its reliance on constant innovation and complex physical formulation and relax instead into a sort of ne plus ultra of laissez faire “whateverism” which ups the ante on American “Slacker” culture’s aesthetics of resignation.”
-Adrian Dannatt

read: Sylvie Fleury at Karma InternationalSylvie Fleury at Karma
Past: Paul Mpagi Sepuya

"It's why so many photographers are want to document the youth, embodiment of the photograph's eternal nubility as we all die...

"The bodies work for the camera who is the master to be satiated. Which explains their machine-like affection. It's a more Hans-Breder-like photographic attitude, any sympathetic Tillmans-esque is fractured, the body formalized, turned to abstraction, which is a gore, a machine of equivocation, skin becomes fingerprinted glass becomes magazine flesh cut and pasted.  This is ostensibly fun but play and its dalliance gets close to frivolousness, becomes dangerous when you are machine shredding bodies

Read Full: Paul Mpagi Sepuya at DocumentPaul Mpagi Sepuya at Modern Art hosting Team Gallery

Thursday, October 15, 2020

Carolyn Lazard at Essex Street


"Heat as a replacement for warmth." A band-aid to stand in for mother's compression. "a world we must continually attenuate." We design a "humanity" and it reappears in alien forms. You can't redesign warmth; you design its substitute. Technologies of the human. Of "care." The Journal of Technologies of Care. Because we don't, or can't, care. Aliens emerge. Colby Chamberlain channels Marta Russell: the Americans with Disabilities Act that G.H.W. Bush "signed into law to trim welfare rolls." Neoliberal care, freedom for the "uncompensated labor necessary to reproduce oneself day after day." Adorno channels Tocqueville:  "tyranny leaves the body free and sets to work directly on the soul. The ruler no longer says: ‘Either you think as I do or you die.’ He says: ‘You are free not to think as I do; your life, your property – all that you shall keep. But from this day on you will be a stranger among us.’" Care made equivalent to function. Efficacy equivalent to its efficiency.

So much art currently deploys and compostionalizes medical/insitutional aesthetics but rarely cares for its material conditions. And so what happens when Gober sinks are stripped of their touch and we are left with a stainless version- scientifically designed to shed the human. A world that won't purify on its own. We continually design a world that is hospitable in all ways but human.

Wednesday, October 14, 2020

Past: Lin May Saeed

"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

Tuesday, October 13, 2020

Yong Xiang Li at Emanuel Layr


The returns of overt sentimentality chimes with our nostalgic times, its longing, wistfulness, or its hate filled "again." Building apparatus to suspend this ephemeral world: a wallpaper's pleasance like a tissue against fire. 
Past: Isa Genzken

"To make one of those statements that art writers have tendency to make based upon an inflated assessment of their own opinion's import [...] Bruce Nauman has passed the torch of most influential living artist to Isa Genzken. It happened in field about 4 years prior as part of a much unpublicized ceremony 28 miles due south of Santa Fe. Without fanfare, neither artist even leaving their respective vehicle, handed through lowered windows, Nauman reported to have said "Best of it." The two made eye contact and somewhere off a small goose was made to fly along with several terse press releases from the agency that assess such matters. It was said that Genzken's speed finally attained escape velocity from the crushing gravitation of Nauman's iron mire."

"Genzken founded strategies rather than objects, an artistic down-shifting, a speed that could overtake. "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" i.e. When we see Genzken we react to the deployment or manipulation/alteration to its strategy, the means of attending the object rather than object itself. Weirdly deny the consumptive act of looking by permanently existing in a state of limbo.."

Monday, October 12, 2020

Keren Cytter at Kunst Museum Winterthur

"In a more recent video, Killing Time Machine, a bunch of friends are sitting around, eating Chinese takeout food, talking about a deceased parent, reading old letters, communing, and so on, but everything is very flat—the dialogue, the energy. There’s no emotion. I was interested in literally making a machine that kills time, in seeing how I could make a movie become something physical, like a machine. Watching it, you’re aware that you’re wasting your time—it tells you that in the title—but you keep watching it for some reason."
The limits of our connection to the power of video narrative tested.
Past: Josef Strau

"The way butterflies seem garish and unnecessary to a world and inspire our wrath so children crush them and artists crush them against canvas, looking for ways to bejewel our production, steel it against the unpleasant taste of mouths eating coin. They're fine in that way of pleasantness, pinnacle of subservience that is the crux of high dollar abstraction, submission to their surroundings by letting it walk all over them."

"These are much uglier ...  And Straus's text begins with an almost apology for the exhibition, which reminds of how endeared we all were to artists failing ten years ago."
"A hail mary pass to capture, touch down, on some meaning."

 "Strau’s concurrent rise with the hegemony of the art's image (say, CAD) makes a sense. Strau attaching text to image, delaying reception by giving words to its arrival at the moment it made it consumable without giving it away. This was huge."

Saturday, October 10, 2020

Josefine Reisch at Noah Klink


Organization and display systems become the forms we think in, render the world, Tufte et al.  Google images, the iPhone, the interfacization of everything becomes predominant, and children swipe at books. Approach paintings as if they too are systems of information, signs, or, worse, informative. Reisch confusing these aspects of decoration. The decoration becomes the sign it always was. Composition trades its fine line with organization.

Friday, October 9, 2020

Past: Pieter Schoolwerth at Miguel Abreu

"... the stylistically performative running the permutations of their look. ... aptly describe the loss of your viewer-self within, metaphor for the free floating body that everyone everywhere is at pains to describe but not touch. So we’ll say it here, it hurts to touch nothing. So when looking at the coldness and feeling the stylistic chrome they contain know it’s a real possibility."

Thursday, October 8, 2020

Past: Hannah Weinberger at Nicolas Krupp

"Since Weinberger's generally seem to be about establishing some sort of social/relational intimacy of living breathing art slugs, it is a odd turn now to have an exhibition of video of stone people, an intimacy that, like all of us communicating through televisual monitors, leaves no real intimacy at all. ... the mere shapes of human we're all pantomiming on Zoom, [humans] indistinguishable from any sufficiently complex animatronic."

Wednesday, October 7, 2020

Austin Lee at Peres Projects


Part of the fun of bad painting is learning to love it. Same reason why some people like pictures of gore. To have an authority over the repulse. An enjoyment to finding the next level of trash, a little further to the new bedrock of stupidity. This is enjoyable. Just when you think painting can't get any worse, it gets a little worse. Vertigo in bad taste. Now here we have representations of bad taste. The difference between painting badly and making paintings of bad things. It would seem to absolve the painter, who blames the world for his representation, as if to say, "I am merely the recorder." "Look how well I have painted the dead clown" In the evolution of the dreadfulness in art, is the next step bad paintings that tries to pass themselves off as proficient? Truly awful, yes.

Tuesday, October 6, 2020

Kate Spencer Stewart at Park View/Paul Soto

Slow paintings seem like one of the old white male professor ideas alongside Truth to materials or content or whatever. But we are in fact all scopophiliacs. We like looking at things. And things can be nice, and they can be slow and that doesn't have to be antique. And these all look like water and all feel like sitting by the river watched slow.

Monday, October 5, 2020

assume vivid astro focus (a.v.a.f.) at Hussenot


This really was a thing at one time wasn't it. Art was more like a technology designing a machine to fill space. And artists became the machine, symbiote to the institution. This was before the Museum of Ice Cream and Meow Wolf and just as the art industry was shifting to more populous modes of representation, leading to an installationism everywhere suddenly "fun" which hung precipitously over the entertainment "experience" industry it then immediately fell into. This machinic symbiosis with institutions is sometimes described as careerism, professional assimilation, but the careermay simply be the shell protecting the soft inner art, the machine instead adopts itself to the space it can fill, modulates to the institution, a service performed, rendered, filling art space.

Friday, October 2, 2020

Past: Richard Hawkins

"collage becomes important as the collisions of the world's disparate systems become increasing violent, and the Surrealists and Frankfurters were wrong that irrational juxtapostion would spark any mass as the world world became the biggest surrealist juxtaposition of all, and that collage in the larger sense - the sense that Hawkins has practiced since the beginning - was meant instead to make "alternative forms of touch" as soft touchdowns, as a sort of pathos? The decrepit sexual patina grown over Hawkins work wasn't always so. There were once clean young men paper-clipped to fields of bright fabric, and anyone was yet to be beheaded."

Wednesday, September 30, 2020

Juliette Blightman, Dorothy Iannone at Arcadia Missa


...tarot, images drawn and illuminated shine to bounce around in your head to alight some new substance inside, like any painting. The further you believe in the drawing the more deeply it affects. A charm for wealth eventually brings it through stubborn physical existence to remind you that's what you value, seek. Any object's aboutness, its meaning, it tautologically enacts like a string tied around your finger: the string doesn't necessarily intrinsically symbolize "pick up eggs;" its meaning is conjured by the reminded who tied it. Thus objects are imbued with meaning. Tarot cards tell you they are meaningful.

Which is why Tarot cards are such powerful meaning creation devices - humans are apophenic machines - seeing sense where there may be none, they create it for themselves. Art comes to resemble it.

Tuesday, September 29, 2020

Agnes Scherer at Sans titre (2016)


We should be exceedingly skeptical of comparing artistry and servanthood. Art isn't service. Fraser's existential question “What do I, as an artist, provide?” comes to mind. Or Bourdieu:
"cultural producers tend to feel solidarity with the occupants of the economically and culturally dominated positions within the field of class relations. Such alliances, based on homologies of position combined with profound differences in condition, are not exempt from misunderstandings and even bad faith."

That said, the PR does fine corralling why such affinities might exist. And Flaubert's novel and parrot are made for metaphor. The parrot dead and our heavenly afterlife: an art career. Anyway, write what you know. The professionalization of art is pain, our lives are increasingly disembodied and neuroticized. Paintings of laptops make sense, they are our story.

Monday, September 28, 2020

Helen Mirra at Nordenhake


"As measurements of time and being, the 13 woven pieces capture in yarn the somatic activities of standing, extending arms, articulating hands, breathing, and sensing."

The Marxist commodity fetish was, confusingly named, our mistaken relation to capital's objects as an economic rather than human social relations, it was a concealment: the aluminum clamshell of your laptop being seen as economic product of capital innovation itself, rather than the hand-sweat of laborers distanced beneath gloves. A price tag for a face. Almost nothing is this world is actually automated - everything you touch is hand-made by workers. This separation of our social relations we've so completely assimilated that labor itself returns as a literal fetishism, stitches mark this labor, look compelling, can be brought out onto white walls, as aura, as artwork. Every cheap objects is an equal tapestry. The stitches in time are smoother, hidden. Hold up your child's plastic toy and feel another at its end.

Sunday, September 27, 2020

Laurent Dupont, Lisa Jo at Braunsfelder Laurent Dupont


You paint the thing over the thing, a face over your face, a representation getting closer and closer to its object until, well, they touch, link, and representation adsorbs, becomes, its object. A history of attempts to kill the artwork - here make a painting so redundant as to negate it - always fail - but we find them titillating, art as thing that cannot be killed. In its place a ghost of it.

Saturday, September 26, 2020

Berta Fischer at Barbara Weiss


Stuf. Crushed and molded into gangbangs. Not even necessarily organized or compositionalized, more just amassed. The "errancy" here would be against manners of taste, more an orgy, an excess. Stuf itself accrues a byproduct: a quality we could attempt to separate the difference from surplus and glut; exuberance and waste.

Kathleen Ryan at Ghebaly Gallery, Valerie Keane at High Art

Friday, September 25, 2020

Past: Phung-Tien Phan

"... placing a thing on another thing. Foregrounding the ghost who've arranged the space, the artist's hand, both magnifying their leave while highlighting the staging. of the encounter. Like Broodthaers' potted palms casting the scene in its artifice, it makes the ghosts come out, those who constructed its object for you, tombs where flowers have been left."

Read full: Phung-Tien Phan at Bonner Kunstverein

Thursday, September 24, 2020

Sydney Schrader at Gandt


"Experimental" would ostensibly insinuate "new" and "untested" forms, but more often applied by readers unwilling to do the work required or by artists themselves successfully applying for European grants. At worst experimental is synonym for obtuse, or, when applied to oneself, intentional obfuscation. "Off-spaces" generally assume "experimental" perhaps simply because a lack of white walls encumbers the usual halo identifying what is and "isn't" the art. Which generally also applies to the documentation, 00s web-design like memories of The point is to enjoy the experience, be lost, possibly click on some gore, not make sense of something. It's annoying, sure. But occasional "titillation" was part of Gandt's success was finding for the perfect venue for a tickle fetish "novel." Or a dissociative text. Think Lynch's Inland Empire, enough nonsense that eventually you open to it.

Wednesday, September 23, 2020

Raha Raissnia at Marta Cervera


Contraptions to capture the "ephemeral," make it tangible - nets for the schools of fish-like light.  The sculpture sediments feeling into rock; the painter, paint. Ostensibly. We seem to value art for its packaging. At some points in history more ephemeral forms of art were prized, say, songs because we didn't yet have books, and so whether this is a symptom of capitalism or of art is hard to tell. Fish in the ocean do not generate value by swimming, but being collected, in parks or nets. As an entry ticket or its meat. A reservation for entry, a thing to be gathered around.

Tuesday, September 22, 2020

"There's a published panel discussion in which [Denny's] staunch refusal to talk about artmaking in any terms but the corporate terms of "product" "content" and "brand" leaves the other art-types at a sort of incredulous distance, wondering whether to refute the position (corporate terms obviously implying evil) or understand it at the safe distance of metaphor. This "struggle" to come to terms with such description is mirrored in much of the writing about Denny's work, in which writers search desperately to find where the critique - that of course must be there- lay...." 

"...there isn't "critique" in the ambivalence of Denny's semi-archaeological work... "critique" for Denny would only be part of experience of the product, its brand. In the same panel, stating a complicity with capitalism that he "doesn't want to kill," Denny is challenged with what he does "want to kill," again implying the assumption of "critique" that the artworld so desperately needs. Denny responds, "That's not my goal. My goal is to make interesting content."

Read full: Simon Denny at MoMA PS1

Monday, September 21, 2020

Past: Louisa Gagliardi at Open Forum

"...cartoon mirroring our model's own el Grecoing bodies into lanky warbling sticks, printed in advert sweat, inks, magazine glass. That wet look, pavement in the rain under sodium streetlamps, inky, in the surfaces where even the lighting appears moisturized."
"A whole exhibition today called PVC fetishism - that the youthful today, raised in glass-inflected magazines, slick cartoons, feed though plastic, eventually adopt affinities for that torrent of slickness, we start to print our dreams on vinyl."

Saturday, September 19, 2020

“Crumple” at VIN VIN


A sort of paganism that pervades. In this exhibition and elsewhere, we smear paint, assemble objects, to arrange something like "meaning." A like-meaning, or an affect of it. A yule pole for every occasion. 

Thursday, September 17, 2020

Past: Klara Liden

"At best Liden's "examinations of the anxiety of urban space" demonstrates the fraughtness on which society rests: flippantly publishing the keys to city, (e.g. bolt cutters and flashlight); implicit threat of artist's desublimating their profession bashing a bicycle to death (see too: real violence); or the small smile of this exhibition's theft of things that delineate private property (i.e. stealing the things that make private property possible). Bristling the small hairs separating us from chaos. Feel the rush of anarchism from the safety of the institution...""At worst wonder whether the rich whose wealth rely on this power that Liden ostensibly undermines don't feel some sort of safety in the irony of owning these"

 Klara Liden at Reena Spaulings (1)Klara Liden at Reena Spaulings (2)Klara Liden and Karl Holmqvist at Kunstverein BraunschweigKlara Lidén, Alicia Frankovich at Kurator

Past: David Lieske

"Lieske was of the first of the cargo cults reassembling the totems of meaning in the desert of it, picking detritus. The issue was resolved not by necessarily by making objects mean again - which they couldn't - it's hard to make an empty bottle mean in arid land - but by situating objects so that they connoted meaning despite whatever inscrutable blankness. Like hieroglyphs. What was important was exuding the affect of meaning, regardless of whether there was any and that it didn't matter anyway was what we were all beginning to pick up on and what the commercial world had known for decades (that you can create "meaning" at will with attitude, aura) which while Lieske pondering whether this was a problem was suddenly flooded and drown by more ephebic artists already having decided for him it wasn't and now this is the water we live in, a flooded terrain of objects imbued, over-saturated "meaning."

"If so much art looks like Broodthaers today, it is because Broodthaers was of the first invested in the arrangements of display as a credence to meaning, institutional or otherwise."

"An ambivalence at the heart of much of art today displayed as presentations of objects left to the viewer with a "deal with it" coolness, figurative sunglasses donned."

Click to read full: David Lieske at MUMOKDavid Lieske at Lovaas Projects

Wednesday, September 16, 2020

Lynne Cohen at Jacky Strenz


The dryness of black and white documentary photography becomes a deadpan. Something you can't quite call comedy. But might. That same small twist of sense. Sometimes the world doesn't acquiesce to staid photographic capture; sometimes the world seems to sort of fight back. Seems too absurd for its clinical silver. Cohen seems to seek out these moments.
Past: Jochen Lempert

"Most of 'planet earth' didn't look like Planet Earth, most of the world burns. [...] the "documentary" had increasingly become escapist television. The "reality TV" that is a fantasy of a world that isn't on the edge, that still safely harbors flora, breath, life, isn't choking. Securing some fantastical turf for the "natural" we ostracize to parks and behind 4k glass."

"So maybe Lempert's moribund nostalgia is actually a sci-fi, of our present from the future, as it wrinkles and curls and blows out. Tragedy."

"Grain clinging like dust to paper; eyelashes etched into the silver [...] The overt romance balanced not so much by an attachment to science, but just the basic desire to show: 'Trained as a Biologist' [...] a sort of phenomenological augment [...] that like Audubon who upset the world of avian illustration by depicting accurate birds in naturalistic motion [...] it was realized you can learn two things about the world at once."

Read full: Jochen Lempert at Contemporary Art CentreJochen Lempert at Between Bridges

Tuesday, September 15, 2020

Alex Bag, Jason Yates at von ammon co


What should we call this? Paul McCarthy to Alex Bag to today's schiz-u-tainment? Now militarized Teletubbies and Hollis Frampton with Hollywood soundtracks, the animistic televisual resurrections. The artiste tonally dissonant entertainments, the slapstick affect, the emotive we can turn on and off like rain. What is this? Was this. Who is writing the big thing about this? What have we made of this? Reassess, take stock, congeal something....

See too: Venice vs TriennialAndrew Norman Wilson at FuturaRachel Rose at High Art, Ed Atkins at Serpentine, Steve Reinke at Isabella Bortolozzi, Lynn Hershman Leeson at Vilma Gold, Jordan Wolfson at David Zwirner, Shana Moulton at Kunsthaus Glarus,