Jutta Koether at Galerie Buchholz

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Well these are as ugly as they come. There is almost weight to the ugliness, like it sags off the picture, obese with garishness. Koether seems continuously giving painting an excess content, the hyperlink references, the hung on glass, adding layers until it's gluttonous, unwieldy, here: bloated.


See too: Jutta Koether at Bortolami, Jutta Koether at Museum Brandhorst

Jutta Koether at Museum Abteiberg

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I had always wanted to take a Morandi painting out of its frame, hang it on a glass wall, and write an essay about erotics and pornography.

Jutta Koether at Museum Brandhorst

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because what you're looking at isn't what you're looking at: what you're looking at is cultural baggage, garbage piling your sentience, floating to the surface like diapers, clots, the noise of signal and symbols. You can't see purely, you are clogged with reference. "Koether’s own “battle” with art history."



see too: Jutta Koether at Bortolami

Jutta Koether at Bortolami

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Certain art memes burn so quickly that in their aftermath a wasteland, the theoretical ground so well cleared that its almost like starting over, we have to look elsewhere from "Painting Beside Itself"s turf, or risk losing an artist to its rubric. I've got nothin.
But how striking it is now Koether's obvious forebear to the likes of Jana Euler and other’s loaded representation. Representation was always sort of beside itself, at least pointing elsewhere, but whereas for today’s puzzle painting exists as a kind of confounding delay of symbol's comprehension, Koether's over-saturation never seems a puzzle, but a hyperlink version, rerouting what we bring to it.

Jana Euler at Kunsthalle Zürich + Bonner Kunstverein,  Jesse Benson at Michael Benevento, Mathew Cerletty at Office Baroque

“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.