Julien Ceccaldi at Koelnischer Kunstverein

(link)

Conjuring the stupidity and desperation of the forlorn, something J Ceccaldi repeats in the wasteoids and corpses against the Adonic beauties they cast themselves at. Turning the romance form into its caricature, comic with They Live glasses of romance tropes perhaps. Love never feels as thrilling or effective as it does in the commodified form of a Movie preview, in a montage, in a Pretty Woman story. I've never been a Disney Princess, but I have been a corpse. The movie makes felt this distance its spectacle, the main character's fawning for their love interest mirrors the viewers own longing for the narrative's created love, a creation of desire. The movie's resolution provides myth for the possibility of our own. It's not true you're just a living corpse.

Julien Ceccaldi at LOMEX

(link)

Something's changed here; what had been Ceccaldi's bright branding of commercial trinkets, hangbags, fashionable shirts, comics, has instead become a brand of art flexed, making art objects, like, rather than saleable commodities (hand)painted to retension their exchangeability as brand, these recent objects are painted onto to place signature on fungible blanks that painting has always been. Painting onto a handbag dug something out, into its own face as facade, rather than the brand saturation going on here, place your dots on a car for charity, placing your icon on everything, whatever franchising you can get. You can place your face on anything it turns out.


see too: Julien Ceccaldi at Jenny’s, Pentti Monkkonen at Truth and Consequences, Pentti Monkkonen at High Art, "Paris de Noche" at Night Gallery

Julien Ceccaldi at Jenny’s

(link)

Altarpieces similarity to modern info representation and GUI space makes them somehow anachronistically the most relevant from of painting, pre-renaissance painting systems matching those of the mass systems we interface with daily in which above-all information must be conveyed, supplanting figuration with codes: image as icons broken into frames and grids of information with a skeuomorphic impression of religious wonderment. It is no coincidence that devotional paintings contain the same figurative depth as a iPad screen. If today's painting is in a bad way it is because in its backtrace search for new relevance in historical modes it rutted itself at proto-modernist and surrealist modes (perhaps confusing that as its beginning) - historical points having higher covalence with advertising than with the slowly dawning hegemony of the interface which contains it. Though some have done well, Koether, Euler, Cerletty, Kelm, von Heyl in adopting a sort of hyper-link representation.
But so,  J. Ceccaldi's Giotto blue and Manga/comic forces narrative frames read, conveying information, read as individual bits, the modern day christ figure in non-binary life state taken down from no cross magically superseding death and without a Madonna to wipe him, Subway Cumrag.


See too: Ray Yoshida at David Nolan