Sunday, July 4, 2021

 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