Gelatin at Galerie Meyer Kainer

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Gelatin's would seem a populist stupidity balanced with the high abjection of a butthole. But it's all butthole in populism, and Gelatin's greatest skill is getting a blue haired public to smile on camera with said butthole, to join in happily to dig the worthless hole. It doesn't take much. Everyone is happy to laugh because irony excuses everything. Like a nun taking photos with the Naked Cowboy - this is common. Dunking on the Mona Lisa is playing basketball against a team paid to lose. The dunks better be Globetrotter - otherwise what is the point of the effigy. Comedy falls flat when it commends an audience's ability to distance themselves.

Rachel Harrison at Galerie Meyer Kainer

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An information processing app asked to process our world. The premise reasonable. The results are deeply midcareer. Literal. Instead of a Terminator HUD, we get a generalized mess, abstraction. Harrison has a struggle, recompressing the diamonds after the explosion of her star, the mall, our world. But every group show looks like you blew up a mall today. Harrison's influence is prevalent. CAWD has written more about her mostly through other artists. Her work explains a lot of other artists. Our exploded semio-wasteland. We're all just garbage pickers now in Harrison's ruin, even Harrison. A trash become good god. 

Nicolas Ceccaldi at Meyer Kainer

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Joker was happy to stick the multiple prongs of its fork into multiple political hot sockets and see sparks. For reasons seemingly not much more than to see those sparks; political hot buttons becoming their own form of Hollywood special effects. The film's patheticness against its grand ambitions seems to mirror the main characters own, a sort of filmic meta-pathos. Identifying not with the joker, but the losers who paint pictures of the joker.

"becomes impossible to imagine an identity outside of cultural signs."


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