Seyoung Yoon at Galerie der Stadt Schwaz

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Painting has become a cultural interface anyway, so these make sense, compounding the issue as windows and signs, painting as adverts for painting itself, infographic without info, board without bulletin. But slick affect of tech niceties. What poetry and advert copy have in common, unburdened with having to say anything reputable. "an idea (that sells), that has no corporate use under the corporate surface." Painting after eating one's own tail, disappearing into chimera of surface, the new windows 11 display of painting.

Melanie Ebenhoch at Galerie der Stadt Schwaz

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Our simulacra now iridescent. Cast in cartoon stuf that feels like the rubber of current reality. The framing devices Ebenoch has us continually peering through, so you feel like you've entered, so you feel complicit, your eye looking.

Anne Speier at Galerie der Stadt Schwaz

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Hulking materialism vs digital plasticity. Bodies, which we now consider abject troll-like objects, vs an arabesque virtual purity. We're basically covered in mud in comparison to digital asepsis. The overly literal juxtaposition hammers the point to excess, we can "read" into these in so many academically uninteresting ways, the point is that this is what it feels to be a human today, a troll in a mall, among so much digitally rendered beauty.

create two lists of
adjectives for each half
and have yourself a poem


See too : Anne Speier at Neue Alte Brücke

Silke Otto-Knapp at Galerie der Stadt Schwaz



Like the recent use of Hilma af Klint as fashion, her totems of spirituality becoming themselves symbol-patterns printed on dresses and totes worn as cultural baggage, Otto-Knapp shortcuts this droste-abyme of cultural appropriation immediately placing its icons onto its own tasteful dresses before being recirculated dancing in front of/into paintings, reinserted back into its aura. An aware circulation of aura in the contemporary brand system, re-uping Munchian mannerism for 21st century management. At what point are spirituality and the quasi-mystical retainable through the deadening pragmatics of contemporary art, in which symbols are vaporized in a Kelley Walker-esque reproduction line, and at what point is it able to retain its “irrational” function standing in opposition to the immediate rational vampire of functionary markets.