Camilla Wills at Gaudel de Stampa

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There is a lot of things, but not a lot of light shed on it. Wills' stubborn opaqueness like low-light conditions, our systems for recognition short-circuit in attempting resolution in scarce information, causes hallucinations. At home science experiment: With just 200 lumens and 10 minutes in the mirror will see your face notably disfigure, like low information voters whose perceptions deform our candidates, a lack of information causing boogeypeople's appearance.  Instead we must "Control the narrative," "get ahead of it," not allow viewers in darkness to install their own figments of imagination, prefill everything with a narrative control that Wills seems obsitinately intent on eliminating, the lack of press releases, or dressed in lorem ipsum, causing a contextual vacuum, a dearth of writing on her, perhaps because writers all so afraid what they are writing is simply themselves in the mirrors on the mantel, invent ghosts in ignorance.



See too: Trisha Donnelly at Museum Ludwig, Anna-Sophie Berger at JTT, Yngve Holen at Fine Arts, Sydney

Gijs Milius at Gaudel de Stampa

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We try to make the body reappear and it appears as a cartoon, which we're mad about. Our cartoon bodies extrapolated from the growing prevalence of data and numbers domineering discussions of humans. The "broad picture" we use for governance. People as populations. Everything feels like a cartoon in this virtuality because you can do great violence to it. A million jobs lost, a million jobs gained. Tom whacks at Jerry with a mallet like an axe. Jerry distends.


see too: “Puddle, pothole, portal” at Sculpture Center, Sadie Benning at Susanne Vielmetter