Thursday, January 16, 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

Tuesday, January 14, 2020

Marianna Simnett at Kunsthalle Zürich

The documentation here comes from at least three different Museums: the, as stated, Kunsthalle Zürich, but also Frankfurt's MMK ZOLLAMT, and the above image from NYC's New Museum. Glitches as evidence of dislocation, of images just completely adrift at this point, does it even matter at this point, who cares at this point. Put anything anywhere, the video-stills are photoshopped in anyway. Drag and drop. An exhibition appears. It's the metadata that counts. How far can we dissociate. Someone should standardize the museum, to be more like the suburbs its already become, you could find anything anywhere, a McDonald's like a Guggenheim, in every metropolis, a LOVE sculpture in every park, tastes standardized across continents, fly to Zurich and still feel at home with real New York artists or cheeseburgers, anywhere. Is this dissociation?

See too: Nairy Baghramian at Walker Art Center?

Monday, January 13, 2020

Jutta Koether at Galerie Buchholz


Well these are as ugly as they come. There is almost weight to the ugliness, like it sags off the picture, obese with garishness. Koether seems continuously giving painting an excess content, the hyperlink references, the hung on glass, adding layers until it's gluttonous, unwieldy, here: bloated.

See too: Jutta Koether at BortolamiJutta Koether at Museum Brandhorst

Jutta Koether at Museum Abteiberg


I had always wanted to take a Morandi painting out of its frame, hang it on a glass wall, and write an essay about erotics and pornography.
Past: Jutta Koether

"but whereas today’s puzzle painting exists as a kind of confounding delay of symbol's comprehension, Koether's over-saturation never a maze but a hyperlink version..."
"what you're looking at isn't what you're looking at: what you're looking at is cultural baggage, garbage piling your sentience. It floating to the surface like diapers, the noise of signal and symbols. You can't see purely, you are clogged with reference."

Sunday, January 12, 2020

Win McCarthy at Atlantis


As updates on Kelley's arenas, tchotchkes on blankets, these add a box. It's a more literal symbol of repression that Kelley's, an artist with a lifelong interest in cultural repression, had left as perfume. These are like Brad Pitt crying "What's in the box?" The PR narration's spells it out ominously: "we tend to have to wait to find out what’s lying beneath" like a Kevin Spacey line. What's latent in a culture? And it's again literal, turns out the clown was a pedophile. A joke we've heard before.

Saturday, January 11, 2020

Past: Marie Angeletti

"exacerbating all the annoyances of images today, Angeletti's are always claustrophobically opaque, too close, dim. Not quite sure Angeletti has ever shown in a completely lit space, and the once maybe having had lots of photos of rotational laser lighting, the sort of whirliwig mimicking the driftlessness of our own floating so unanchored.
"which, in an era of almost total fuck-all of images our cognition is molested by daily, could make an art practice mirroring such seem a brutal finger but at some point we have to be trained for this, we could attempt to make sense of, it all, if we wanted to start lifting."

see too: Marie Angeletti at AtlantisMarie Angeletti at Beach Office

Friday, January 10, 2020

Calvin Marcus at David Kordansky


Against a bedrock fear, of death, of castration, the nervous person searches for vitality and extension to ward off impotence and death with a "big one" like a muscle car, a militarized gun, a mid-life crisis and a trophy bass, and here a harhar painting to cover fear. You have sublimated your anxiety of death to a painting mocking that fear, but it's still a Mustang against death, a painting equivalent of a truck with nuts, underneath the irony, the wet-eyed naiveté, the fear, the fear.
Past: Calvin Marcus at Clearing

...paints like a kid, draws like a kid, had huge crayons made for his big kid self. It would be an interesting history correlated, the desublimation of painting, its id-ification, from the surrealist's subconscious, to Pollock's becoming "nature," to finally the triumph of neanderthalism of say Joe Bradley, the history of men's important doodle. The mythology of the infantilized artist. We must care for him, them, genius whose diapers we exchange.

See full: Calvin Marcus at Clearing

Thursday, January 9, 2020

Gabriel Hartley at Foxy Production


Hartley always developing some new process, techniques-yet-named, aerosoling impasto, rubbing wood blushes, printing crumpled flat, etc. Processes for abstraction like all those modern photographers solarizing, photogramming, or just pouring light concrete. Processes to fulfill our need for the novel. And nice. But maybe the best analogy would be Tillmans' "Blushes" where the very thing at stake, their tension, is in seeming to be both lovely and arbitrary. Our fear.

see too: Wolfgang Tillmans at Maureen Paley

Tuesday, January 7, 2020

Virginia Overton at Francesca Pia


Cut up and rearrange the objects of capital, they will hint at their previous legibility but they will not mean, it is something we will be forced to assign. Playing in the sandbox we've been left.

Monday, January 6, 2020

Brian Belott, Rhoda Kellogg at San Francisco City Hall


Before a certain age pretty much every drawing a child makes is unambiguously good. Pre- selfconscious drawing is more an act than an accomplishment. Children's drawing is more akin to carving, space has no natural means, like middle period Gustons' wads in every child's dreams. No joke that "my kid could do that," so many modern artists attempting to reaccomplish their childhoods. The thefting of art from childhood for "mature" intents we could mock, but since every artist today is mining theirs for the cartoons that litter their surrealist landscapes who are we to judge.
Passed: John Baldessari

"Baldessari's career spent on a mockery of art's formal givens, puppeteering its dumbified literal versions and removing the protective aura of seriousness so a skepticism could seep into it cracks, paving the way for today's boorish Pop conceptualism.

"Here, dissonant image/text relations leaves a viewer floundering to connect the basic formality of art: that the text relate. That we still find this Baldessarian gimmick relevant 800 exhibitions later, sometimes even comically worth it, shows how strong this base impulse is ingrained."

"The text's irrelation performs the poetic fissure lamely, mechanically, i.e. Baldessari's engineered breakage of logical closure, conclusion. The space we rush to fill with guesses, the INTERPRETATION of art, that interminable precursor to MEANING. The poetic is the process for staging these interpretive fissures, founts for guessing, which Baldessari's plain creation of feels like a corpse made to dance. That dullness feels a point."

Click here for full John Baldessari at Marian GoodmanJohn Baldessari at Sprüth Magers

Saturday, January 4, 2020

Meredith James at Jack Hanley


A notable rise in couch art, in furniture displays, as we continue our archaeology unearthing artifacts of the body. In anthropological remains seeking human representation. So the couch becomes the projection screen for us, the surveillance into us, like looking back asking the question: "Before our we uploaded to the cloud what were we?" back through the screen to see reality - or its cave - through the remains. What the exhibition titles "shadows on the wall."

see too: Lisa Herfeldt at Between BridgesAnna Uddenberg at Kraupa-Tuskany ZeidlerJessi Reaves at Bridget DonahueSarah Lucas at CFA Berlin

Friday, January 3, 2020

Past: Hun Kyu Kim at The Approach

"Or is it a means to alienate the world so as to see our own actions as helpless stupid critters. We've been anthropomorphizing animals since pretty much forever with 30,000BCE zoomorphic figurines. Which gave rise to Saturday Morning Cartoons and then now Furries in adulthood. A study showed people were able to identify human traits in simple shapes, the triangle was bossy, violent, imprisoning the circle. Angular shapes in general are shown to be associated with "bad" while the curvilinear is associated with "good," which is probably why we love all those rotund creatures drawn with curvaceous softness like every Disney squirrel a Venus of Willendorf. Of course kids are going to grow to sexualize them, franchise films of them, they've been genetically bred for appeal. Crushed by capitalism. Dogs bred for pureness with destroyed hips."

Past: Hun Kyu Kim at The Approach

Thursday, January 2, 2020

Leigh Ledare at Office Baroque


Leigh's is titillating surely, anxious, naughty, filled with all the nervous transgression of an arthouse "social experiment". Haha what if we took an anxious group psychology project but added a documentary panopticon. Of course the projects are interesting as they are well polished mirrors, psychology is turned into a formal exercise of cinema. And this thing is made for essay explicating all the formal structures that mirror its conflict. Watch "psychology" made into object of art, humans into a petri-dish, cross-sections of a people for microscope slides. "Arguably more anthropological than therapeutic..." The problematization method,* a sort of making-confounded. Greying the waters with the tangling of culture: people made demographics made signifiers, and forced to abut and spark. People are made to be art's object which gets conflated with analysand. Good cinema is not necessarily healthy outcome.

*Think Renzo Marten's Enjoy Poverty, Jordan Wolfson's Animation Masks, Korine's Spring Breakers.  
(Watch the film through Ledare's website here.)

Wednesday, January 1, 2020

Rasmus Høj Mygind at Jir Sandel


Personally I think Epstein did kill himself.* But in an exhibition about contingency this is hardly the point. It's about enacting a viral birth in reality, the Epstein meme is its own title, its own reality in meme-like propagation, simply reading/thinking it propagates it, which like the far-right's conspiracies spread less by truth than by simply continuing to collect consciousness of. This becomes akin to art/entertainment where consensus/agreement is less powerful than commonality, fame reduced to shared-knowledge-of, Kardashian-like, as art and things become self-reflexive self-illustration. Pollock illustrates abstraction, Judd minimalism, enter the history books. Which these are self illustrations, self-propagate. The point isn't abstraction it's amoebic survival in consciousness. Against self-annihilation, towards extending consciousness, what we call viral may simply be confused life.

* Even if we're feeling conspiratorial, the shadow org would only have to tell him he must. Perhaps a semantic argument. But it is a scarier thought, rather than being strangled by gloved assassins, that someone doesn't need assassins at all. Instead people follow orders to kill themselves because alternatives to suicide are worse. Someone who can conjure worse-than-death.