Monday, September 21, 2020

Contemporary Art Writing Quarterly


In case you’d like to spend a while absorbed in anything other than listless documentation of art, you might like to visit Contemporary Art Writing Quarterly, where we publish deeper, uh, "expanses" on art. Pick your essay below:


Past: Louisa Gagliardi at Open Forum

"...cartoon mirroring our model's own el Grecoing bodies into lanky warbling sticks, printed in advert sweat, inks, magazine glass. That wet look, pavement in the rain under sodium streetlamps, inky, in the surfaces where even the lighting appears moisturized."
"A whole exhibition today called PVC fetishism - that the youthful today, raised in glass-inflected magazines, slick cartoons, feed though plastic, eventually adopt affinities for that torrent of slickness, we start to print our dreams on vinyl."

Saturday, September 19, 2020

“Crumple” at VIN VIN


(link)

A sort of paganism that pervades. In this exhibition and elsewhere, we smear paint, assemble objects, to arrange something like "meaning." A like-meaning, or an affect of it. A yule pole for every occasion. 

Thursday, September 17, 2020

Past: David Lieske

"Lieske was of the first of the cargo cults reassembling the totems of meaning in the desert of it, picking detritus. The issue was resolved not by necessarily by making objects mean again - which they couldn't - it's hard to make an empty bottle mean in arid land - but by situating objects so that they connoted meaning despite whatever inscrutable blankness. Like hieroglyphs. What was important was exuding the affect of meaning, regardless of whether there was any and that it didn't matter anyway was what we were all beginning to pick up on and what the commercial world had known for decades (that you can create "meaning" at will with attitude, aura) which while Lieske pondering whether this was a problem was suddenly flooded and drown by more ephebic artists already having decided for him it wasn't and now this is the water we live in, a flooded terrain of objects imbued, over-saturated "meaning."

"If so much art looks like Broodthaers today, it is because Broodthaers was of the first invested in the arrangements of display as a credence to meaning, institutional or otherwise."

"An ambivalence at the heart of much of art today displayed as presentations of objects left to the viewer with a "deal with it" coolness, figurative sunglasses donned."


Click to read full: David Lieske at MUMOKDavid Lieske at Lovaas Projects

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


Wednesday, September 16, 2020

Lynne Cohen at Jacky Strenz


(link)

The dryness of black and white documentary photography becomes a deadpan. Something you can't quite call comedy. But might. That same small twist of sense. Sometimes the world doesn't acquiesce to staid photographic capture; sometimes the world seems to sort of fight back. Seems too absurd for its clinical silver. Cohen seems to seek out these moments.
Past: Jochen Lempert

"Most of 'planet earth' didn't look like Planet Earth, most of the world burns. [...] the "documentary" had increasingly become escapist television. The "reality TV" that is a fantasy of a world that isn't on the edge, that still safely harbors flora, breath, life, isn't choking. Securing some fantastical turf for the "natural" we ostracize to parks and behind 4k glass."

"So maybe Lempert's moribund nostalgia is actually a sci-fi, of our present from the future, as it wrinkles and curls and blows out. Tragedy."

"Grain clinging like dust to paper; eyelashes etched into the silver [...] The overt romance balanced not so much by an attachment to science, but just the basic desire to show: 'Trained as a Biologist' [...] a sort of phenomenological augment [...] that like Audubon who upset the world of avian illustration by depicting accurate birds in naturalistic motion [...] it was realized you can learn two things about the world at once."


Read full: Jochen Lempert at Contemporary Art CentreJochen Lempert at Between Bridges