Friday, October 8, 2021

Oscar Murillo at Taka Ishii Gallery


This is the fallout of On Kawara conceptual art. What he posed as a question - whether a sign can contain its moment - has metastasized into marketing strategy.* The PR tells you the locale of these paintings making - their "downloaded content." Against modernist universality, the big dumb abstraction of today localizes itself, we resurrect the author to make sure their symbolic laurel is branded into the painting by the press release, this is the On Kawara stamp. You don't contribute anything to geopolitics, the point is to chant it. 

*"While this was the central conundrum to conceptual art since its inception, the rupture and distance between sign and object (always at risk that its sign didn't actually contain its object) it has since been taken as granted, as a granting agency for value added. While On Kawara's July 21st 1969 poses the question of whether it actually contains the weight of a moon landing, the paint sprayed is given to absorb the history. If an artist goes into the woods and there is no cellphone service around to hear him, does it imbue itself into the copper objects as significant? Jason Rhoades built a career of mocking this value-added system, performing it under absurdly comical conditions, to create his referentially seminal signature: PeaRoeFoam, a mess of so much reference and history and jest that it self imploded. Or Seinfeldized by Arcangel. .. So a word for this value-added process based absorption/valorization of reference."