Friday, July 30, 2021

Rosy Keyser at Parrasch Heijnen

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The secret to Keyser's paintings is that, beneath the scum and the janitorial chunder sponge, the fecal and snot rags like a mother's sleeve in winter, or the sock under boys' bed, they are just really generally pleasant paintings. Opening the tissue to reveal flecked orange magic. 

Wednesday, July 28, 2021

Magnus Frederik Clausen, David Ostrowski at Spazio Orr, Brescia

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The less you try the closer you are to getting something uninhibited, almost natural. You get raw wood, a brushstroke that looks free. Like it's not in a cage. Of course no one really thinks it is. But you maybe get to imagine it. 


see too: David Ostrowski at SundogsDavid Ostrowski at Jir Sandel

Tuesday, July 27, 2021

Yona Lee at Fine Arts, Sydney

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The objects of capital, our world, are strange enough. So they become the hieroglyphs of the gallery world, moved into cubes for contemplation. Artists perform the rituals. We glean a ritualized understanding. 


 Past: Yona Lee

"You can attach anything to anything today. A subway pole becomes a mop, runs plumbing, becomes lamp, attaches a table for when we're all stuck underground. The signs get slippery, confused (the thin difference between a barrier pole or a handrail.) This capitalist surrealism that seems inherent to our age - symbolic orders melt to some other demand. Efficiency - the invisible hand pressing everything into everything else, together, the same."

Yona Lee at Fine Arts, Sydney

Past: Judith Hopf 

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

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

Monday, July 26, 2021

Bradley Kronz at Lars Friedrich, Berlin

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Kronz has shown everywhere, making the rounds, leaving an exhibition at every cool young space, once. Sorta like the work, unable tell where we're at, what scale we exist on. Is this a model for something, is this a representation, or is it an object? Everything happens only once. (Except for the time it happens 3 times.) Then it's off somewhere else. Never firm ground to stand on. A fun press release. Weird enough to be interesting, scrappy enough to leave you skeptical. A friend you can't form a relationship to.


see too: Manfred Pernice at Galerie Neu

Friday, July 23, 2021

Hamishi Farah at Fri Art




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Pusha T and Drake's longstanding beef ended with Drake having to release a statement admitting, yes, he was hiding a child and, yes, that was him in blackface. It exploded. People said Pusha took it too far. Drake vocally conceding the beef would have been less of an L than his hand forced in apology.  Beef was supposed to remain in the land of publicity grabbing headlines, in hyperreality, in the game. I.e. Children, etc., shouldn't be involved. Farah's own "going nuclear" would also involve children that should maybe be left out of the game's foibles. Do you see where this is going? For those seeking beef's reportage: After Schutz excused her razzle dazzled murdered black child through her relation as a mother, Farrah, no stranger to surgical summer, painted Schutz's child. It exploded. Farrah's painting of the child was censored in Monopol, labeled an "act of revenge" (language seemingly no German paper used to describe Schutz's painting of someone else's child.) The jujitsu here is black belt. Returning all the stakes of painting - that artists are quick to claim in the same breath they claim to be outside of -  into the real. The virtual sacrosanct of poised conceptuality - "in the game" of hyperreality - Farrah is all too canny in, happy to, throw into the artistically hot water it supposedly was already boiling. Basically, if you want stakes in art, here are your stakes. This is isn't conceptual, these are people's lives, not necessarily all in the game. Not a game. Farah, reasonably, has beef. And there is more of it. His instagram, @merlincarpenter, documents another beef with none other than. Carpenter's once conceptually excused racist joke, that he seemingly would prefer to disappear, Farah continuously drags back into the mud of the real. 

Choosing a side in a beef is always part of the fun. And your choice here is going come with political questions on the limits of art's unquestioned terrain, stakes, Debord, and how much hyper faux reality we can take from rappers. But I fucking hate Drake.

 Past: Lewis Hammond at Casa Masaccio

"Dark in amber, scenes held in brown glass. A "wine dark sea," a Homerian world devoid of azure. ... scenes reflected in another substance, using a mirror to inspect the bathroom, ... An aberration in the glass or in you."

 Past: Lewis Hammond at Casa Masaccio

Past: Michael E. Smith

"A google search says no one has used to word tumor in any online writing about Smith. Which seems odd; his objects seem awfully affected by a lot of lumps, red dots, growths on institution and inflated with resin crusts. Teratomas: the classic hair and teeth of your twin in your tummy. You can google pictures of these, they actually look a lot like Smith's more "bodily" objects. Of growths without cause, find a potato in our eye, the "categorically promiscuous." Things sliding into new subjects like bare knees across asphalt..."

"Threat of bodily violence (a body to become goo as any other) is implicit to art that treats materials as categorically promiscuous (surreal), e.g. if you can put puffer fish under the table's summer sky, inflate them like footballs with whale ears, aren't you as wiling to place skulls at your knees. The disregard for the categorical order is like gore, crushing bodies."

"It's a cliche at this point to say that Smith makes the mundane object estranged. And in a sea of so many surrealists currently operating, less than helpful. Estrangement is today's go-to strategy. Smith's is individuated, each object set off so that we can no longer "know" the sculpture, eroding a complete vision, and opening a distrust. A psychological sliver. We cannot know the object, its relation to other objects is broken, either categorically (there is no category to place the object within, surrealist) or psychologically (the unknown threat). The rocking chair I project from the two elegant bones still in contact with the substrate of the real is not the same as the one in your head. This unknown destabilizing of our ability to conceptualize the objects in equitable terms to exchange with another -both objects and other people - (eroding the material semio-substrate with which our exchange is based) breaching a distrust, is its sinister quality."

"You can never be certain you've seen all the butterflies, their artwork is everywhere."


Click for full: Michael E. Smith at AtlantisMichael E. Smith at 500 Capp Street Foundation, Michael E. Smith at Sculpture Center, Michael E. Smith at Michael Benevento, Michael E. Smith at Zero, Michael E. Smith at Lulu, Michael E. Smith at Susanne Hilberry,

Thursday, July 22, 2021

Mathis Collins at Crèvecoeur


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Perviously there was a speaker for an eye, which makes a metaphoric sense for the haptic reversal of carving. Seeing a feel. The vibration of carving, a touch without. The labor dabbles the surface. While Guston's heavy belabored stroke plodded its anxiety, the sweat here seems less anxious than proof of work, not frivolous, not quite etched in stone, but heading there.

Wednesday, July 21, 2021

Ceal Floyer Massimo at Minini, Brescia


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Historical anti-retinal trends led to concerns with meaning, to an audience's battles with "getting it." Many things were written, both for and against. But eventually getting it was the prize, was the humor, conceptual art distilled to its simplest form, comedy. The set-up, delivery and a vast emptiness. But these begin toying with something different. Almost nothing to get, attempts at non-meaning, attempts on its life. Anti-thought art. A head "kept clear" with the sound of one hand clapping, masturbation pleasure.

 Past: Peter Fend

"Art has been co-opted for worse things than environmental boostering. Fend's utopic aspects seem nice if not necessarily utilitarian, but since when has art been confronted with actualities. Art is a space without expectations of internal success, of even internal logic. ... giving the boring problems of our coming environmental cataclysm at least ostensibly interesting solutions. ... ideas are less the feasible-solutions-for-actualization than they are acts of branding and dissemination, where being excited-for is itself the solution. Whether or not you feel excited is yours."

"... How can one invest in getting Musk to stop?..."

Read full: Peter Fend at Museo NivolaPeter Fend at EmbajadaPeter Fend at Essex Street

 Past: Ceal Floyer at Aargauer Kunsthaus

"...cleverness - the set-up, tension and click of conclusion- and its bathetic pull, "this interplay of expectation and disappointment." ... less fun than sinisterly aware of their exchange of the broken sad comedy of puns as like existentially it, this small disappointment threatening to replace understanding with "getting it," our world as a series of painfully dumb effects."

 Full: Ceal Floyer at Aargauer Kunsthaus

Tuesday, July 20, 2021

Ryan Huggins, Jacob Mason-Macklin at PAGE (NYC)


First there was zombie figuration, now headlines declare Figuration Fatigue. No longer tired painting but tired viewers. The blame shifts. Our eyes weary. And it's true, there is a "diminished emotional responsiveness to a stimulus after repeated exposure to it." Ostensibly time will sort this out, but is it true? Or does first claimant get spoils. Looking new is often more important than being new. How many times has assemblage been rekindled by the fresh dumpsters outside artist studios, a new trash appearing different than Rauschenberg's? In a long enough view eventually everything might return to garbage, and we sort through it then I guess as artifacts. 

Monday, July 19, 2021

Past: Elliott Jamal Robbins at Kai Matsumiya

"Enough emotional dissonance eventually causing psychologic desensitization, feeling a lot like living slumber.

Full: Elliott Jamal Robbins at Kai Matsumiya

 Past: Alan Ruiz at Bad Reputation

 "... the displayed droppings of dominant culture, broken into artifacts, and presented it in our white altars to press heads against it. We used to draw aurochs on cave walls; we relocate the world into art, to make it manipulable in our realm, sandbox, aesthetics. To stand in for control. Aesthetics becomes the religion of fictionalized understanding. It substitutes its little problem for the one big problem. And therefore claims knowledge, and thus domain.
If the dominance of mass culture includes threat to diminish art, [a diminishing] that we could call castration, then art's transmuting that culture into fetish item is classic Freud: it is "a token of triumph over the threat of castration and a protection against it." i.e. You can't cut off what I own of yours."

 Past: Alan Ruiz at Bad Reputation

Saturday, July 17, 2021

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?" Of course not you're five. Right"

... 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
Past: Cathy Wilkes

"Since sculptural figuration’s wastelanding after modernism, its return in inhumanist impulse made sense in conceptual and post-minimal fallout. The humanist passe was instead fit into the acceptable accounting methods of the 60's ruling doctrine, e.g. Nauman’s uncanny serialization of it. It continued time and artist again until it started actually resembling the body reflected in cold capital, looking prescient for whole new reasons...."

full: Cathy Wilkes at Kunstmuseum LinzCathy Wilkes at Tramway

Friday, July 16, 2021

Past: Paul P.

"...There shouldn't be this much desire, resting on the surface, as if the surface itself exuded it [...] And P.'s structure become excuse to hang painting's flowers, blooms, cause shimmers in paint. Look how the painter's hand trembles. ...   factories for desire. The steam is hung by painter. ... Do these men sweat, or does the painter sweat for them? The glass of fashion. Desire placed on like a mask... the 'expression is from Page 18 of the Victoria’s Secret catalogue.'..."


Read full: Paul P. at Lulu & Queer ThoughtsPaul P., B. Wurtz at Cooper Cole

Thursday, July 15, 2021

Lisa Williamson Amplifier Tanya Bonakdar, Los Angeles

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They're always like a half of a sculpture. Like the other part should be somewhere nearby. Like a piece pulled out of IKEA both, some assembly required. Something missing.

Wednesday, July 14, 2021

Srijon Chowdhury at Foxy Production


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Drip with meaning. Or glisten with it. The other one glows. That one prickles. Down there that one has firework flowers that burst with it. A moonglow to spotlight it. These are the painterly wreaths that halo meaning. Bestow objects a blessing. In a video game the object would hover and spin. In a novel, the detective would would pull them from earth for a magnified look. The monolith us monkeys dance around, point at. They are the MacGuffin. The monolith only as meaningful as the plot/painting can ascribe it. The actual meaning is in this means to distribute meaning. 
Past: Peter Wächtler

"... an Edenic earnestness as if unspoilt by social awareness, and reattempting it through the mistakes of a Forest Gump or incompetent detective still winning the hearts if not criminal with immaculate sincerity, which of course isn’t true, but the interest lay in ascertaining the discrepancy, the disorientation of its irony."


Past: Peter Wächtler at JoseyPeter Wächtler at Reena Spaulings

Tuesday, July 13, 2021

Alexandra Noel at Antenna Space, Shanghai


(link)

CAWD wrote the release for this. Go check it and the show. 

Past: Alexandra Noel

"... a psychic mess, more pollution than collage, tinged with repression. The shadow of a plane is the specter haunting here, but throughout is an "offness" that is more motion sickness than fear. ...  Noel's light too, toxic, the haze as permanent fixture, everything feeling smogged, poisoned. Pollution as repression, spectacular sunsets, and black oil beneath feet. The 9/11 in everyone's bedroom."

Full: Alexandra Noel at Freedman Fitzpatrick, Atlantis 

Monday, July 12, 2021

Teresa Baker at Pied-á-terre

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Crust composition, stitched twigs, punk weavings, arranging "painting" like a conductor waving his hands to conjure the cultural myth music. 


Sunday, July 11, 2021

SIGNA at Simian & Angélique Aubrit, Ludovic Beillard at Centre d'Art Contemporain La Synagogue


We had always predicted Wilkes to come back, but never expected its haunting to be literalized into performance. Nor in matching colors. Wilke's materialism no longer enough, we need stronger ghosts.  

see too: Cathy Wilkes 

Saturday, July 10, 2021

Past: Joanne Greenbaum

"... gentility balanced with an undercutting maximalism, like a dog having found the birthday cake to lay it out once again on the patterned rug.

"the confusion of painterly terms, parsing the difference in Greenbaum's marks between accident and expression, calculated or automatism. The categories get blurry in regurgitating expressive modes, flaunting its social codes ... always teasing something that we might find repulsively not-painting, irrational.

"... the schizo positioning of painting today, in which everyone wants a subjectivity expressed but no one wants human expression. The hysteric is the ability for the human to appear through the grate of order; social, relational, capital, or artistic."


Joanne Greenbaum at CroneJoanne Greenbaum at Richard Telles

Wednesday, July 7, 2021

Leda Bourgogne at QBBQ's


Really got everything.

Monday, July 5, 2021

Gerrit Frohne-Brinkmann at Noah Klink, Berlin


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Little hosts, infected with virus, because their users wanted love. We find such odd proxies for ourselves, we are able to anthropomorphize at distance. Find identification with Wall-E robots rather than corpulent humans. The stupid magic of little underdog computer as effigies, set to slow burn.
Past: Darren Bader

"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 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."

"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.  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. "

"...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. Everything onto everything. 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."



See Full:
All posts tagged Darren Bader
Darren Bader at Franco Nero
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, July 4, 2021

Sarah Rapson at Modern Art

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As our arts fight against the endless behind-glassing of virtualization, the distressed look of materiality is in right now. But these seem less about flaunting swatches of a quickly etherealizing world than about an insistence on the material substrates of our thought. A reminder that these are the moldy objects we build our empire on. 2,000 years of grandiose diction projected on slowly eroding blankets. We proclaim "painting now and forever." In reality it will last as long as it's cared for. Not so much painting/materiality as the loss of. Be careful.

see too: Lutz Bacher at Galerie Buchholz and Sarah Rapson at Essex Street

 Past: Sarah Rapson

"While early Conceptual Art was interested in the document ... 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. ...  a pathos in the materials we find to mediate our touch to the world.

"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...."

"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."

Full: Lutz Bacher at Galerie Buchholz and Sarah Rapson at Essex Street

Friday, July 2, 2021

Group Show at The Downer


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It's courageous, setting your art against the outside, to compete with the real. This is space of painting's "pure idiocy." Its hard headed survival. Or the PR more descriptively, "On the whole, [painting] is fully unbothered by its detractors and lumbers on, buttressed by history and money. Like Don Draper telling some irate underling that’s trying to shame him, “I don’t think about you at all.”" Painting is "this invincible thing that is constantly at war with itself is exhilarating." A stupid animal surviving in spite of itself, protected by some aura, which we all love to argue endlessly what. Art, as our collective cloud based MMORPG. As long as there's players, the game continues. 

Thursday, July 1, 2021

David Korty at Derek Eller Gallery

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Laying somewhere in a lineage between Carrol Dunham, David Reed, Math Bass, painting becomes cipher, a code for it, turned into its puzzle pieces. PR: figures "haunting me from logos and bygone cartoons, advertisements meant to sell desires more than childhood entertainments." The wacky fun of painting converted to information, iconographies of, which connote but don't mean. We feel like we could make sense of these, connecting the dots between its puzzled parts. But we won't, they are their scrambled non-sequitur. What is important to note is that painting converted to symbols for it.