Barbara Bloom at Capitain Petzel

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Displays themselves become uncanny; they are the living dead, lacking human they were designed for. They are stage without actors, so when we seen them we see death. (IKEA displays create anxiety that must be counteracted, feeling our homes could feel like death if we don't fill them with otherwise.)  This exhibition comes with a packet explaining which exact ghost haunts each.

Barbara Bloom at Capitain Petzel

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You see son, it's emotional impact is its inability to tell you.  It can't fully delineate, er describe the thing it references, which makes you imagine something beyond what it's capable. You try to imagine a potentional, son.


See too: On Kawara at the Guggenheim, Oscar Tuazon at Le Consortium & Paradise Garage

Barbara Bloom at Gisela Capitain

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Scenic tableaus hyperbolize Fried’s theater, nature morte objects not only presupposing the viewer, but enact an uncanny world referring back to the “owner” of. Decor projects its owner formulated projection of themselves, any interior decor a statement made, we are watching but being watched in our assessments of its making to impress, fabricate, a psychology within them, and so Bloom presents domestic psychology to us as a surrogate, a replicant theater. Yet, the odd design decisions, like hovering chairs, have no answer, no owner to ask, no “decorator” and force the question upon the viewer, all but placing a pane as the fourth wall, hermeticisng and tinting this strange act of display in the grey light of Kubrick.

See too : Allan Mcullom at Petzel