Goutam Ghosh at STANDARD (OSLO)

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Anyone spending anytime reading Tufte understands that information is more interesting than painting. (Tufte should be handed out in drawing/painting 101.) This because we are hardwired to seek and the roulette wheel of information skimming (more than actually discovering information) is what triggers dopamine reward centers. So when a painting lures a visual array that we might could process, there's an intrinsic nervous response to its search. Surely our rat brains will make some meaning of this. We're desperate to. Twombly or Griffa, yeah. Information age symbolism? But a bit yellower, warmer, threatening its loss. 

See too: Antek Walczak at Jenny’s, Jordan Wolfson at Sadie Coles HQ, Yellowing

Goutam Ghosh at STANDARD (OSLO)

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Today’s PR asks the same questions as Raspet’s exhibition yesterday:  At what point is phenomenology or perception able to be described and codified by science’s formula for its reality. The key line here: “The spectrographer uses an instrument that separates light into a frequency spectrum and records the signal using a camera, whereas the jyotshi would first acknowledge the sensation of light then study how the perception of that would affect the behaviour of his body mind.” Raspet is the spectrographer, Ghosh the Jyotshi.  Science quick to label Jyotsh pseudoscience, but the question here is particularly pertinent: That though the two Cokes are scientific equivalents (in yesterday’s case its mirror), would they perform the same in the Pepsi Challenge? That a placebo pill, even when known as a placebo, proven again and again to be effective, can’t be called a placebo anymore. That for all science’s power through its highly choreographed means of removing human perception from its experimental evidence, has finally found itself at its strange liminal boundary where perception, so long skewered as the false facade to an objective reality, has become the reality now to be tested, and without good means to do so. Raspet the skeptic, Ghosh the agnostic. And so the paintings.

See too : Sean Raspet at Société