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The new techno-conceptual.
A Bernadette parasitizing of corporate campaigns, here in Abercrombie rather than Levi’s brands. Throwing in the tropes of today's high-tech trade show’s baroque eye-candy, they of course look great, they were made to.
Acting out a mis-en-scene installation displaying the display systems themselves, it presents today’s shopping experience as yesterday's pagan rituals, the work’s ostensible entomopathogenic function serves to force its host, the luxury goods system, to self-expose.
This is the Koonsian fantasy of the gallery, that objects put under its disenchanting light will perform a sort of auto-dissection. That the clean myth-body sex of its advertorial objects act as critique rather than a mere transference of its subject’s fetish to the work itself, acting as pagan materialist totems, like shooting bullets through medieval armor. As the PR states the exhibition is the “the mindless mirror,” that though literal and obvious - like the real use of such means - overt hamfistedness never lessens the affect, however stupid, like the hominidae skulls they contain, on the cusp of becoming something human.
See too:
Ben Schumacher at Musee d’art contemporain de Lyon, Simon Denny at Portikus, Pamela Rosenkranz at Karma International
