Lucas Arruda at Indipendenza

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Keeping the list succinct, Turner, Caspar D. Friedrich, Rothko, maybe Monet, Celmins, the painters and expanses lit from beyond. The self-enamored creating space, letting there be light, like gods, separating the sea and the land, they can paint it, conjure it. Schopenhauer, "Fullest Feeling of Sublime : Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature)." And Arruda's primordial stews both past and post, sunset and sunrise, beginning and end times and all the land inbetween, finding common ground between the heady romantics and the spiritual expressionists and painters between. Recent trends in sci-fi have too increasingly used primordial and lush expanse from Prometheus to Rogue One as locale signifying a shift in representations of "future" no longer mechanistic and barren but luscious clean worlds like Apple ads, the primordial space no longer past but future and become once again acceptable.



See too: Lucas Arruda at Lulu

Marc Camille Chaimowicz at INDIPENDENZA

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Despite their allure, Chaimowicz's object withdraw behind soft facades, using friendliness as a foil. Chaimowicz's objects appear overwhelmingly kind, in pastels and patterning that soften the self, nothing unacceptable to a baby's bedroom. We find this wanton sensitivity almost unnerving in art, we fear the institutionalization of its form, the hospitalization of "sentiment." That Chaimowicz continually seems able to wrest its new versions makes him the anti-HeimoZoberning.

See too: Marc Camille Chaimowicz at Galerie Neu, Heimo Zobernig at Kunsthaus Bregenz

Mélanie Matranga at Indipendenza

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Oversized clothing was trending in 2014 according to one popular art blog. A too-lateness that becomes a pathos. Like showing up to a party with party games while everyone is doing coke off glassware. Yet, the cool kids recognized the option for both, snorting off the board they played upon. Years later in the hindsight of sobriety it becomes a question, that the person bringing the board-game may have known all along what they were bringing. And who looked stupid then?

Heimo Zobernig at Indipendenza

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It's important to note Zobernig's background coming from theater design. Objects which in their replicant mis-rememberance of archetypal painting instead limn its vague caricature, a consensual version, short-circuited to be art that already looks like art. Becoming stand-ins (theater sets) for the contemporary, or its "zombie" version.
In other words their extreme banality incites questioning, and exposes its stage to the skepticism wrought.
The inanity of such an operation might seem at the limits of humane interest, but Zobernig's magisterial ability to continually wrest insipid rabbits from contemporary hat irrupts a manic laughability at the depths of that hat.
The jewels in the rough here work because their showcasing of the exhibition around it proved that they were never needed to begin with.

Paul Cowan at Clifton Benevento , Margaret Lee at Team , Kaspar Müller at Federico Vavassori , Heimo Zobernig at Petzel, Krupp, MUDAM , Seven Reeds at Overduin and co.