Gaylen Gerber at Emanuel Layr

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The Gerberian support's proposal of a third party in the usual object/viewer duo, a middleman standing watch to serve you the art, introduces the many others standing watch to bring this to you. The general supports of art - walls, lights, pedestals - are cold inanimate and, generally, ignored, and Gerber's proposition, their filling with blood, sedimented subjectivity, makes the walls seem alive and watching, that though they are painted white they contain just a different behind in them.


See too: Brian Calvin at Le Consortium, Sophie Nys at Crac Alsace

Gaylen Gerber at Studio for Propositional Cinema

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"In the second exhibition Gerber presents two Supports, each oil paint on cinematic props of Nazi scalps from Quentin Tarantino’s Inglourious Basterds."

"Frieze Magazine: Questionnaire: Sturtevant.
What film has most influenced you?
Any film of Quentin Tarantino because he is a concrete example of the vast barren interior of man."

“Friday, July 24, 2015″ at Essex Street

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In this episode Forrest pens a love letter. The love letter is open letter, made public PR, an address sung upon the highest mountain top found: the LES exhibition, and then posted on his own factory of the visible, but addendums abound at pains to make clear that it was CAD's board of directors choosing to announce the letter and not Forrest, because that would be like weird, and but who is going to tell their boss their love wasn't worthy, and but who wants to be a critic of a love letter anyway, particularly when people's literal lives and loves are at stake, not us, the letter is undeniably sweet. Jealous singles swell. So from our team to yours we all wish you and yours a happy outcome.

But so the most interesting reveal in this episode that for all CAD's fears of nepotism, CAWD actually wrote the review for Puppies Puppies back in March, back when it was quickly becoming an expectation for Puppies Puppies next solo to be featured on CAD, one of the extremely few penned early in anticipation for its eventual coming, PP an obvious CAD favorite, before knowing anything about the love revealed here. So here's hoping it comes.

Group Show at Emanuel Layr

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Another group exhibition's anthropomorphic objects, the animism arranged to slough meaning off the waxy image surface. Objects Curated to displace their center, their aboutness, diverting it to dissolve and we looking around, feel a presence, the object juiced to mean. The dumb object speaks in the noise of the viewer reflected.
"Hearing the echo / Of your own blood in the shell but picturing / The ocean is what I meant by"*

*Ben Lerner

see too: Ian Kiaer at Lulu , “Seven Reeds” at Overduin & Co.

Will Benedict at Bergen Kunsthall

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The new method of artistic identity production, vacant-token-products for the gallery leaving the unsaleable cultural-capital building for the museums. Benedict has always been, like Kanye, a wonderful producer woefully lacking in “content.” Instead the arrangements are based on the formal material massaged in the medium of the network, buoys in the flow. Though Yeezus was great.

And Benedict's turn towards video production gives the most interesting results, yet the temptation to connect Benedict’s passé part-outs to the subliminal-abjection of the anti-adverts - both creating a fragmented disgust - would miss how sick-sweet repulsiveness of Fried Chicken and KFC commercials is premised on their physiological allure set against a much deeper horror. Benedict’s are closer to the phenomenon of trypophobia, a socially spread internet “fear,” presenting a study of whether it actually premised off a biological response or a form of social inclusion

See too: Will Benedict at Balice Hertling