Karin Sander at Hussenot

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"canvases in standard formats that Karin Sander leaves at a selected location for a limited, defined period of time. They absorb and reproduce the specific patina of this location."

Conceptual art was obviously the roots of our the Living-Dead Formalism, the instructions lending credence to inoffensive abstraction. Weren't conceptual art's instructions just a means of self-mythologizing? Why does art cycle itself? Shouldn't we learn.


See too:  Karin Sander at Barbara Gross, Olivier Mosset, Karin Sander at lange + pult

Olivier Mosset, Karin Sander at lange + pult

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So sure, two people making "white paintings" couldn't be more different. One likes reflexive indexing, the other motorcycles, both come in white. 

see too : Karin Sander at Barbara Gross,  Fredrik Vaerslev at Centre d’Art Contemporain Passerelle , “Seven Reeds” at Overduin & Co. ,  Paul Cowan at Clifton Benevento

Karin Sander at Barbara Gross

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The cold taxonomy of Conceptual tendencies, affinity for the bureaucratic accounting Sander places onto the living world renders it uncanny, the thing displayed, removed from the world of its functionability to become an object seen, torn from the world to wilt under our watch. The reductive ordering of natural object to an extraneous criteria, the faintly fascistic transgression we find naughty, fun.

And so see too: Darren Bader at Andrew Kreps & Kölnischer Kunstverein, Cathy Wilkes at Tramway, Willem de Rooij at Arnolfini