Anna Zacharoff at Neue Alte Brücke

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"...Drawing ripples in surface to activate the beneath, tap the vast depths of painting's cultural wealth"

Previously:
1

Like cutting a rose from a watermelon, everyone wants the sweet fruit but we facet a composition. This is a metaphor for painting.

2
The watermelon in the metaphor is that essence "painting" - that unconscious object, myth, we all have some benign feelings towards, painting. And [Marlene] Dumas provides illustration: got famous for theatricalizing its juice struggling against the container, composition, corral.

3
Because it seems what we are actually pushing around on the canvas is the cultural object of painting. The canvas, support, oils, were long ago replaced by this mythos, the actual material, its signifiers, significance.

4
Paint becomes simply the candied shell to painting's cultural myth. Doesn't matter how thin because it's merely the container/shape of our love for "painting." As thin as marginally abstracted t-shirts. Drawing ripples in surface to activate the beneath, tap the vast depths of painting's cultural wealth, this the watermelon.

5
A lot of painting functions by tensioning the relationship between painting and its cultural myth - think the Neanderthalism of Joe Bradley, Krebber, or conceptually negated Sturtevant, the printer of Guyton, the signature of Josh Smith, the bruising history of von Wulffen, necrotics of Richter, the fordist production lines of Koons, Craven, Murakami, Kaws. Etc. Neurotic affairs with "painting." But occasionally painting succeeds by making us forget the relation to its myth, succeeds as a painting without history, paints something else and Painting we get to forget about.

Previously: (1)Julie Beaufils at Balice Hertling, (2)Marlene Dumas at Zeno X, (3)Svenja Deininger at Collezione Maramotti, (4)Eliza Douglas at Air de Paris,  (5)Nazim Ünal Yilmaz at Exile

See too: Anna Zacharoff at Kantine

Anna Zacharoff at Kantine

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PR: "Some might say that a dollhouse is an expression of scale. It is a domestic monument and an architecture of absolute control."

Which CAWD previously: "So artistic turns to dolls and miniatures and virtuality makes symptomatic sense: an expression of a need for control over a world we increasingly do not. There is a dissonance between our interior worlds which we find virtual and beholden to our godlike control of a drag/drop materiality conjuring sex in our glass or products from its depths. Digital desires that the physical world increasingly doesn't reflect. The model allows the physical world marionette to an invisible hand in which we trust."

"The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. The model encapsulates this world governed by virtual features, the planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in."

There is here though a clever inversion with the documentation, which turns the virtual plane, model, CAD, into an ouroboros en abyme. We float. We all float in here.


See to: Mathis Altmann at Halle für Kunst Lüneburg, Mathis Altmann at Freedman Fitzpatrick, Gina Folly at Ermes-Ermes, 

Group Show at Neue Alte Brücke

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Artists: Magnus Andersen, George Rippon, Anna Zacharoff, Julien Nguyen
Exhibition Title: Late European Decadence

Neue Alte Brücke set the trend that come full circle to be greet with their own franchise deemed International Style, and so if this doesn't look “fresh” it at least looks current, hegemonically so; possibly the most important thing today is that art look fine, just fine, without an excess of presence and an irony to cut its own heel, a bridge to the new old decadence.


See too : Transatlantic Transparency at Mathew