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Blinky lightbulb art.
We like paintings that "do things," we conflate a critical function with any function, and so when paintings sing or beam its a short cut or short-circuting this need for "function." Tcherepnin's were always sort of tasteful reserved forms of this "functioning painting" positing a perhaps real interest in their sounding that just happened to be packaged as paintings. The move into Brätsch INSTITÜT for mass-production lines of "content" - built off the Genzkenian insight that production is art, is always content, producible at any speed - seems to renege on Tcherepnin's more sound interests, into full blow collage-electronics school of the last 5 years that apparently has not completely burned its lightbulbs out. Somewhere a joke about how long these bright ideas, bulbs, last.
"Every 10 years assemblage reinvigorates itself as the dumpsters picked through are modernized to the current castoffs and appear new, the waste that evolves along culture until finally an artist is able to rummage up enough LEDs, acrylic panels and Arte Povera catalogs to accumulate the update to our Rauschenberg cardboard clogging the pipes of our forward progress."
See too:
“Lemurenheim” at Meyer Kainer, Ei Arakawa at Kunstverein Dusseldorf, Kerstin Brätsch at Gio Marconi, DAS INSTITÜT at Serpentine Gallery, KAYA at Deborah Schamoni, Kerstin Brätsch at Gavin Brown, Amy Lien and Enzo Camacho at CCS Bard, Amy Lien and Enzo Camacho at 47 Canal (2), Amy Lien, Enzo Camacho at various locations, Amy Lien & Enzo Camacho at 47 Canal (1), Ei Arakawa at Taka Ishii & Peter Halley at Modern Art
