Isa Genzken at Galerie Buchholz

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This exhibitions just smells of car showroom, huh. The point surely - the ellipsoids look like cars, liquid in time. 

Benjamin Buchloh criticized my ellipsoids for having too much content. He said to me, "You haven’t even understood Carl Andre yet." I said, "Of course I understand him. But I can hardly try to outdo Carl Andre." Of course, it was exactly this "content" that I wanted to bring back into the ellipsoids so that people would say, "It looks like a spear," or a toothpick, or a boat. This associative aspect was there from the very beginning and was also intentional, but from the viewpoint of Minimal art it was absolutely out of the question and simply not modern. 

See too: Isa Genzken

Isa Genzken at Hauser Wirth & Schimmel + Daniel Buchholz

(Hauser Wirth & Schimmel, Daniel Buchholz)

Genzken's (post-fucking-the-bauhaus) work is a box containing the sound of its own making. Genzken so loved by artists as a consummate "maker," a producer without pretension or ideology but whose work advocates its creation: the amassment of itself, the making of the work contained within itself, the object created, creative.  Genzken founded strategies rather than objects, an artistic down-shifting, a speed that could overtake. "the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects" i.e. When we see Genzken we react to the deployment or manipulation/alteration to its strategy, the means of attending the object rather than object itself. Weirdly deny the consumptive act of looking by permanently existing in a state of limbo that, with the rise to rule of art's image alongside the internet, allowed its acceleration to not self-deplete under an all seeing eye. See Josef Strau.


See too: DAS INSTITÜT at Serpentine Gallery, KAYA at Deborah Schamoni, Isa Genzken at David Zwirner, Isa Genzken at Institute of Contemporary Art, Josef Strau at House of Gaga

Isa Genzken at David Zwirner

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To make one of those statements that art writers have tendency to make based upon an inflated assessment of their own opinion's import feeling significant though ultimately isn't: Bruce Nauman has passed the torch of most influential living artist to Isa Genzken. It happened in field about 4 years prior as part of a much unpublicized ceremony 28 miles due south of Santa Fe. Without fanfare, neither artist even leaving their respective vehicle, handed through lowered windows, Nauman reported to have said "Best of it." The two made eye contact and somewhere off a small goose was made to fly, along with several terse press releases from the agency that assess such matters. It was said that Genzken's speed finally attained escape velocity from the crushing gravitation of Nauman's iron mire.


See too: Isa Genzken at Institute of Contemporary Art, Ben Schumacher at Musee d’art contemporain de Lyon 

“National Gallery” at Grand Century



The exhibition was a month ago but its good timing this late-entry-prior Miami arrivals to get the free advertising, labelled on the map of relevancy, legitimation and visibility. Before there be just serpents in the uncharted. But a few famed friends shed light as german markers of this new territory, addendum to Empire’s realm.
The show hung on the ceiling.
Looks fun - Genzken at 66 still has it, and Kennedy’s work was always made to do this - but in it’s desire for “a heightened physical awareness that serves to explore the idea of vision as corporeal” and “a temporary resistance to mass circulation” the irony of its installation upset lies in the fact that it was always going to end up in the trading routes of it not Empire, then any of the other outsider networks, pretty much made for it by the gallery National’s standard two day party affair, documentation for the hungover circulation, and that that is all that is left, temporary resistance as a good foreplay, because every good sea man does eventually want to get swallowed.