“Strained Intimacies” at Hussenot

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Various fleshes. Art art pornography, with a "look but no touch" world, perform the same function. To get something to feel through the glass. Various methods exists to get the sensual to appear, to make the human endear itself with glossy magazine flesh. A flesh begging please.

see too: Rute Merk at Gallery Vacancy

assume vivid astro focus (a.v.a.f.) at Hussenot

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This really was a thing at one time wasn't it. Art was more like a technology designing a machine to fill space. And artists became the machine, symbiote to the institution. This was before the Museum of Ice Cream and Meow Wolf and just as the art industry was shifting to more populous modes of representation, leading to an installationism everywhere suddenly "fun" which hung precipitously over the entertainment "experience" industry it then immediately fell into. This machinic symbiosis with institutions is sometimes described as careerism, professional assimilation, but the careermay simply be the shell protecting the soft inner art, the machine instead adopts itself to the space it can fill, modulates to the institution, a service performed, rendered, filling art space.

See too: “Stories of Almost Everyone” at Hammer Museum

“Group Show” at Hussenot

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Teenage and whether coy or sympathetic, not many want to prolong their teen proclivity, and here it is not only enshrined but endures, cast as art we don't grow out of but into. Comfort in not nostalgia but a return to adolescent states. What is true about our world is that the teenage years return as powerful forms of commodity.


see too: “Puddle, pothole, portal” at Sculpture Center

Karin Sander at Hussenot

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"canvases in standard formats that Karin Sander leaves at a selected location for a limited, defined period of time. They absorb and reproduce the specific patina of this location."

Conceptual art was obviously the roots of our the Living-Dead Formalism, the instructions lending credence to inoffensive abstraction. Weren't conceptual art's instructions just a means of self-mythologizing? Why does art cycle itself? Shouldn't we learn.


See too:  Karin Sander at Barbara Gross, Olivier Mosset, Karin Sander at lange + pult