Kathryn Andrews at KÖNIG GALERIE

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The postmodern philosopher said America needed Disneyland to prove the rest the country isn't already. The world already feels like a cartoon, making one within it feels redundant, painfully. Maybe the best thing about Andrews is that, like John Miller or Armleder the work is as off-putting as the culture it draws from is. We just need to admit the pain, that this isn't fun.

Corinne Wasmuht at KÖNIG GALERIE

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Noise, digital haywiring, the gravel dissolve, as if digital technologies weren't abrasive enough now we are to find some aesthetic function in their rubbing us raw with overwhelming digital salt, painting that make you feel tender, delicate against their threat.

Michael Sailstorfer at KÖNIG GALERIE

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If the brutish conceptual art of today has an overt concern with nihilism, cyclical destruction, and the darkly sublime - of which Sailstorfer is exemplar with objects so frequently spinning, rutted, towards their own exhaustion and but also this exhibition here with the auto's pollution return to woodfire heat that once blackened London (or recently Greece in recession) and then also the teardrop destruction, oldtime erosion replaced with today's more efficient wrecking-ball that appears as a sort of its-all-the-same cycnicism- it may be an inherent trait of the genre, a spinoff of romantic roots and Ono's Grapefruit whose "event scores"'s main event was a kōan-like mind-wipe, an erasure of logic, forecasting the poetic as an inability for meaning to complete, (conceptual art premised on an internal logic that need not "make sense" and this logical failure having close ties to poetic nihilism) and art guys now building vast machines to prove the destruction of object and meaning as a big grand gesture of.


See too: Sean Raspet at Société,  On Kawara at the Guggenheim, Jason Dodge at Franco Noero, Trevor Paglen at Metro Pictures, John Baldessari at Marian Goodman, Mungo Thomson at Contemporary Art Gallery Vancouver