Friday, June 24, 2022

Leonor Antunes at La Loge

(link)

Some artists compress diapers into tractors. Other make lights whose "fixtures are a discreet reference to the concrete elements designed by Egle Trincanato, the first woman to graduate from the Venice School of Architecture." The point is the same, content pressed into shape, trojaned, smuggled, compositionalized, brandished. The difference is the size of the press release. 

see: Marc Kokopeli at Reena Spaulings Fine Art

Past: 

"Parody is funny, but a form masking the pain of the content, often." 

"Invention becomes the lash of capital, the driving force - internalized as self-flagellation, forced to invent, the jester marionette.... The [novelty] artists are shackled to... Invention becomes survival, requires our renewal continuously, Sisyphean, invention a plea, please, allow my survival, make me interesting."

Full: Pippa Garner at Redling Fine ArtPippa Garner at JOAN

Wednesday, June 22, 2022

Marc Kokopeli at Reena Spaulings Fine Art

(link)
"Like the drug smuggler casting his contraband in the shape of Jesus to escape the prying eyes, [artists] recast trash as flimsy endearing objects that we are made to love. ... repackaging, a reincarnation, second life in the only way objects know how: camouflaging themselves as fresh commodities. "

"Composing it into art objects becomes a blessing for sending the objects into the "heavenly" afterlife, a means of delivering them to the majority white institutions to get them to care for them in perpetuity."

Diaper cakes. Why recast your gift as a cake? Because the content isn't nice enough to be product/gift. This is an apt metaphor for art. The form (cake) is pretty far from function (shit napkins). So you jazz it up. This is the compositionalization of art. The diaper giver and the artist (or drug smuggler) - they must stealth their package into a societally acceptable object. You abstract the content.  Of course this is actually the new form, a socially compressed oddity, but we don't treat it as that. We think, press release on, "ooh 'a German bucket wheel excavator, used for industrial coal mining.'"


Caspar Heinemann at Cabinet


(link)
"Cardboard like a sloughed flesh for transit."

"and soggy cardboard is like a rotting flesh"

"Your touch leaves a mark, sews a patch, you reproduce yourself in the objects you attend. Preciousness in warm cardboard, wearing touch, eroding to someone's love."

like a flesh, ornamented and stringed. Dripped pearls and a hole slightly greased.

Tuesday, June 21, 2022

Ser Serpas st Galerie Barbara Weiss


Americans spent the last two years tearing down monuments, so there is catharsis here in what was always implicit then, that our ideals were mostly trash anyway. So erect now what you previously pretended didn't. As important as land acknowledgements, a song to the tune of Kanye West's Runaway, "Let's have a toast for the douchebags." Let's have a toast to the trash hole. A toast to IKEA elegance, the shelf that everyone I know has. A toast to waste, yours. 



Past: Ser Serpas

"Hoarding as a sort of extended compassion for the derelict neglected of culture ... Composing it into art objects becomes a blessing into the "heavenly" afterlife ... Hooking the hose from the expelling parts of our cultural body to the part that feeds, getting it to eat its underwear."


Ser Serpas at LUMA WestbauSer Serpas at Karma International

 Past:

"A Pierre Hughye for the post-apocalypse, Budor's maybe a bit more invested in theatrics, the movies, and less in magic, instead in its dumbness, which is what we love those big sci-fi budgets for, the vast quantity of ash."

Dora Budor at Kunsthalle Basel

Monday, June 20, 2022

Ei Arakawa at Overduin & Co.


(link)

Assembles references as a series of gestures - not quite gathered but shrugged towards. A sort of breeze of its symbols, a perfume of content. The most interesting thing in Arakawa is the ability to be about something without saying quite anything about it. Parental painting turned to digital displays. Content exhumed and glitzed. Quote books. An "opera." A breeze. What is to be learned here is the ability to treat content with the lightest touch, to barely use it, to just sorta let it lift itself barely into air. 

Past: Ei Arakawa

"Like the wacky inflatable arm man drawing eyes to dealerships... theatricalizing the artwork as a caricature of attention... turning an artwork to an interpretable state and blinking, tea leaf divination in sporty Vegas-odds inkblots....  "

"the background artists and cultures upcycled into its staging system under the spotlight of Contemporary Art .... 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..."

"its child-like unstoppability.."

"an action to conjure the documentation."

"Because: the system shifts from content generation to interactivity itself, turning itself into interface for the user/viewer to self-produce. This is the turnkey-operation entrepreneurial dream, in which as long as the structure is up and running 'content-revenue' will self-generate, perfect museum lobby bait. It fulfills the institutional functions in their programs whose goals like "outreach" have kids painting in the style of those artist to see themselves as..'


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

"[The work's] banality incites questioning - as disinteresting objects must expel interest elsewhere - and exposes its stage to skepticism - institutional critique. The inanity of such an operation might seem at the limits of humane interest, but Zobernig's magisterial ability to continually wrest insipid rabbits from hats irrupts a comedy at the depths of that hat.

"The dizzying aspect of its practice: the ability to lack any particularness whatsoever, terrifying blankness, genericness as phantasmagoria, projecting ghosts of modernism on the backs of our brains."

Read full: Heimo Zobernig at Kunsthaus Bregenz, Heimo Zobernig at Simon Lee, Heimo Zobernig at Indipendenza, Heimo Zobernig at Petzel, Krupp, MUDAM

Friday, June 17, 2022

Elizabeth Englander at Theta & Tahnee Lonsdale at Night Gallery


(Theta, Night)

At one end you have the trash reassembling to totem and at the other end the figure shredded into composition. They meet at the same point, our expectations of art, an object as cultural phantasm, cultural picasso. 

Thursday, June 16, 2022

Paul Mpagi Sepuya at Bortolami

(link)

You would think a harem would be sexier. Be fun. But the bodies look refrigerated. This isn't service to sex, to flesh, or fun, but to the camera to be bent around. That screaming art marker, composition. This is fallout of Picasso. Of art turned to manners. Turned to need for looking like art. A man waving his arms spinning a sign saying "COMPOSITION." To mark it as art. Market it as art. The camera is the merely the node for conceptual static. A photography exchanging the desires of people for demands of art. For color and composition as a bad ruler. "The studio" is a machine akin the office paper shredder, a function for limitless abstraction.

Past: Paul Mpagi Sepuya

"It's why so many photographers are want to document the youth, its the 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

Tuesday, June 14, 2022

Kerstin Brätsch at Gladstone 64

(link)

The point is, the production is product. The machine you create to create. This replaces meaning. The machine does. No one knows why Pollock dripped anymore, that knowledge is lost. What is important is that he created a machine that dripped. 

See too: Kerstin Brätsch at Gio MarconiDAS INSTITÜT at Serpentine GalleryKAYA at Deborah SchamoniKerstin Brätsch at Gavin Brown

Paulo Nazareth at Mendes Wood DM & Pivô & The Power Plant

An exotic image for sale. That Nazareth is aware. But unsure what level of duplicity we've gotten off on. Intentionally meeting expectations of the [x] artist. There's too many tropes at play. Enduro walks, cardboard signs, blanket sales, crusty bricks and tin cans, THE CITY, wove leaf hats, cruddy nice paintings. Its got all the tropes. AlysPopeLOrozcoHammonsKuriMendietaCruzvillegasEtal. Maybe the closest is AI Weiwei, who exchange an understanding of politics for an understanding of art. An understanding the artist. Or, perhaps some elaborate triple agent irony? We knowing that he knows that they don't care.

Past: Kerstin BrätschKAYA

"Genzken [is] the most influential living artist not because everything looks like it, but because [she] predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects. And whereas others used this to produce "series," Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, amassing product and centering production as the point. That the production of itself became the product."

Adam Kleinman in TZK: "as many artists have learned to feed this desire with work made quickly, but with enough conceptual acrobatics to make them acceptable as part of a canon of their own oeuvre—or that of a supposed canon on the critique of modernity. And here, the artist has found a way not only to maximize the circulation of his/her work, but also to reduce the budget in terms of both time and materials—the original shady business of “skimming”, although one that is justifiable considering the low rate of artist fee’s. Within this particular loop, a potential critique of excess is ensnared as another symptom of that very excess. And it is with this dual farce of today’s production and related branding activities, namely the desire for the curator to collect and justify an artistic industry of prefab and ready-at-hand esoterics, that one should enjoy DAS INSTITUT’s irreverent something for everybody with a little for everyone approach."

"WHO says by 2020 depression will be the second most prevalent medical condition in the world. Rats pleasure themselves to death. ...use of beauty as a deployable assaultive thing, prolific- likely what critics refers to as the artist's "advertising strategies" - exhausting..."


Click here Kerstin Brätsch at Gio Marconi
Click here DAS INSTITÜT at Serpentine Gallery
Click here KAYA at Deborah Schamoni
Click here Kerstin Brätsch at Gavin Brown


Sunday, June 12, 2022

Michael Rakowitz at Rhona Hoffman Gallery


(link)

Totemizing the debris of culture. Art as church for contemplation. We come to see the cultural oracle.

[Art] always look like you blew up a shopping mall, like its reassembly after catastrophe, like hangers categorizing airline wreckage. Trying to make sense in debris. Us, a cargo cult. Us, a primitive culture, drawing aurochs on our white cave walls. With the debris of culture. Our Mystic auto-anthropology. "

"art treats culture as a system of artifacts to be interrogated by its own white light certification process, a factory for meaning production." 

At least here the politics are clear. A giant trashbag in the other room inflates and deflates, turning a political act into performance. Press "on" to repeat history for audience. The PR asks a telling question about an artist who sculpted monuments to both Confederate and Union generals: "What does it mean that the same pair of hands made these two works?" But the obvious answer is telling. In cultural war artists are mercenaries. 

Martin Wong at Galerie Buchholz & Raúl de Nieves at Company Gallery

(BuchlozCompany)

Recently received, a lovely email (yet responded, apologies), which among else broached a question of cheesiness, which long thought short: there exists an allergy to work that isn't actively in some way rejecting the viewer. Cheese cloys. And we're antagonists. Afflict the comforted and all that. At the same time, Art has an abusive history with commodifying pain and dispossession as late-stage heroism (generally after the halo reward is blocked by several feet of dirt.)  So a hard time reconciling an embrace of Wong's body-ill-at-ease on one hand, with personal jade over de Nieves celebratory excess. And no flies on fruit ever prevented the consumption of a little dutch vanity. Jewels past their expiration date are in fact are historically ripe for most riche taste. 

see too: Kathleen Ryan at Ghebaly Gallery


Thursday, June 9, 2022

Past: Martin Wong 

"...nothing to do with the tragedy that would befall them, but a representation of a common experience among them, of a body merely ill at ease in culture, now looking like a premonition...."

past: Martin Wong at P.P.O.W, Martin Wong at Bronx Museum

Past: Raúl de Nieves

"Too much decoration... We call it 'gaudy' or 'garish' or 'lurid' or 'vulgar' no longer arranged but vomited in quantity, too much, like the clowns who baroque their face to comical levels, found frightening, a rupture of the socially decorous. Because these are ethnocentric terms, wielding the symbolic violence of 'taste,' and such it is rare museums didactic their greek statuary with 'this greek marble would have actually been caked in makeup, like a whore' preserving both the marble and myth of white antiquity."


read full: Raúl de Nieves at Freedman Fitzpatrick

Wednesday, June 8, 2022

 Past: Michael Queenland at Maureen Paley

"Pre compress our trash into the decorative fossils it will become? Litter absorbed into the earth that on geologic scales become liquids, so our landfills are like slow smoothies. Someday someone assess our ruins as beautiful fossils."

Past: Michael Queenland at Maureen Paley

Siggi Hofer at Secession


(link)

Painting converting to sign systems, bastardizing the pure expectations; painting begins behaving more like a stop sign. Painters love the functional sign, the sign painter, but capital P Painting can't be given to such pedestrian work. Josh Smith actually painting stop signs proved the bad boy point: painting isn't intended to function. Smith's point negated itself as an eyeroll, expected bastardizing. But when painting fuzzes sign/painting territory the point becomes Math Bass clearer discomfort.

Math Bass at Mary Boone
"It makes for paintings that can be painful, sensitivity traded for force."

Shannon Finnegan Slower Deborah Schamoni, Munich

(link)

Carolyn Lazard has a similar show up with redesigned benches and transcribed artwork. And Park McArthur similarly alt-audio-texted the gallery spaces at MoMA. Which is less a critique than obvious parallels, a drippy paint for any expressionist. And less institutional critique than a softening the edges of institution, important work one could argue the institutions should be doing on their own. (A long artistic history, softening corporate facades.) Or Trisha Donnelly appropriating Robert Rosenblum's Picasso audio tour for her MoMA Artist's Choice exhibition. But oddly the audio here is kept from us, the objects/chairs disperse themselves protected by image's glass, but the audio which would digitally free itself instead seals itself in forms. Because words are cheap, and so the digital rights are managed, kept inside frames, a joke about non-accessibility possibly. 

Tuesday, June 7, 2022

Chim↑Pom at Mori Art Museum

(link)

Our wreckage as Disney land. Amusement. The giant trash bag of earth. We delight in the impropriety, snorting badness by the line of "raising issues." You treat the world like a cartoon, write captions in the sky, to render the world "in comic book style." The world is a cartoon at least make yourself an artist entrepreneur. Start a business, tear it down, corporate dreams, etc. etc. etc. The world no longer a clay but an erector set with artist designed neon. Very very very fun.  

Monday, June 6, 2022

Past: Chim↑Pom at ANOMALY

"We have invented forms of wreckage we find enjoyable."


Past: Chim↑Pom at ANOMALY

Sunday, June 5, 2022

Nona Inescu at Peles Empire

(link)
"like bodily stones complicating the minimalist mantra that what you see is what you see, because what you see is sometimes sexually confusing..."  
"We all fear for lumps inside us, unchecked growth, a malignancy, 'matter out of place,' 'the contaminated diversities that proliferate in the dump.' Fear of toxins, poisons, heavy metal build-up, of heavy concentrations of micro-plastics in the great Pacific beverage, in parts per million, in tumors, cysts, in bisphenol A, BPA's estrogenic symptoms to counteract the now "natural" amounts of viagra in rivers, our vessels leaded with a new Rome, our castrati and fears dispersed, everywhere and nowhere. These things are bioaccumulative, they add up in sediments in your blood, fat, balls..."
A lot of art brandish, monumentalize, these fears into nervous objects: In the ongoing surge of the bodily-lump these find some territory for the fear that asks for understanding, an abstract press release that is good, spells it out, these shrines to our apophenia. 

Angelika Loderer at Sophie Tappeiner

(link)

"The mycelium disintegrates the fibers of the prints, and images." This artwork that self-destructs. Sorta.  The non-secret in a long history of artwork auto-destruction is that doesn't. Like the Banksy half-shredded, it merely performed spectacle. Valorizes itself, processes its material to create brand. Like a mushroom, or an artist, or the point.  What we need is not this psuedo-suicide. What we need an artwork that destroys other artworks. A giant chomping crushing machine. What we need is writing.

Thursday, June 2, 2022

Lauren Halsey at David Kordansky Gallery

(link)

Like Silly Putty to newsprint, like Orozco rolling gum across the City, the katamari of art accumulates its displays, content. Gathers the city, reroutes it back into the Museum. A cultural enrichment program for its whiteness.  With an appreciation for the sign painter, whose vernacular form does what Painting cannot: communicate without pretense, anxiety. The sign painter functions, the artist does not. "They start to scratch at what we crave: not looking like art. Because art is mannered, stillborn, cliche." The long history of artists wanting to be anything but. Not here of course, this is art. 

see too: Gedi Sibony at The ArsenaleDavid Ostrowski at SundogsMark Grotjhan at Karma

Trisha Donnelly at Galerie Buchholz


Donnelly's game is plain, obvious. The detractors points clear: it's mysterioized, basic obfuscation as easy enigma. And the art, just skylines turned, reflected, solarized, whatever. CAWD could label them another example of inkblot art. (They are.) But despite, there still remains. And it is this affective quality despite, that becomes their carapace. Attempting to tell the detractors the photograph looks like deep sea evil, rapture, and that despite the rudimentary workings there's something occasionally affective. Despite. Think Nairy Baghramian uncanny lumpen, her photos of clouds. Or Michael E Smith's cancerous suggestions. It is this ability of Donnelly to separate and divide and make evil our inability to share feelings, to see christ (or not) in the photograph. The innocent question of "what you see" in the cloud becomes apprehensive. Yes the game is dumb, plain, obvious, the quality is despite. 

Wednesday, June 1, 2022

Michaela Eichwald Letzte Arbeiten Reena Spaulings Fine Art, Los Angeles

(link)

Giving new meaning to art that matched the couch. Painting like a potato, couch like an Erwin Wurm. They meet in handshake of our body - they both hold meat and brain, contemplation and weight. Becoming here an ouroboros, contemplating our own tail, head feast ass.

Erwin Wurm at Kunstmuseum Wolfsburg

Past: Trisha Donnelly

"...abolish the possibility of a reference we can call common, bury it behind opaque markers. i.e. difficult to recount without resorting to the degrading telephone game of myth, scattered primary source quotes cut/pasted ad infinitum; the PR limbo bending backwards to avoid description, replaced with chimes; and objects which, even at peak banality aren't really describable without metaphor, some sorta whatsa type a deal. What you see isn't mine. Probably why there's such radical opinion difference, Donnelly's cult and the mudslingers. The inability to derive equitable terms, a reference to talk about, looking like slack-jawed yokels."


Click: Trisha Donnelly at Museum LudwigTrisha Donnelly at Eva Presenhuber

Past: Michaela Eichwald

"poured onto pleather paint flourishes implication: painters are smearing their own oily expelleds." "Like graffiti's intestinal signatures defecating their authorial. ... you're still reminded of your bowel held waste, the brown rope tethering us to earth that Eichwald seems to consistently paint."

"Eichwald threatens actual excess, dribbles that could still stain, or, like graffiti, are already stained, vandalized. Which Eichwald's do feel, vandalized - graffiti's defecated signatures - that pink one scratched into with like a school desk's attempted Baphomet that comes out more as a hairy devil with tits, not really satanic at all."
"Because the acne poxed kid's hard desire for satanism outshines his ability to actually conjure it. This is endearing. And there's a joke in here about teenage bedsheets too, but both failed satan and besotted sheets are of that teenage libidinal excess that has a tendency to spill, run over, an excess energies that stain things..."