“Lemurenheim” at Meyer Kainer

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Every 10 years assemblage reinvigorates itself as the dumpsters picked through are modernized to the current castoffs and appear new, the waste that evolves along culture until finally an artist is able to rummage up enough LEDs, acrylic panels and Arte Povera catalogs to accumulate the update to our Rauschenberg cardboard clogging the pipes of our forward progress. At least sticks are still in vogue as symbols of the foraging, our original human toil, production.



See too: Ei Arakawa at Taka Ishii & Peter Halley at Modern Art, Kerstin Brätsch at Gio Marconi, DAS INSTITÜT at Serpentine Gallery, KAYA at Deborah Schamoni,

Katja Novitskova at Kunstverein Hamburg

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Lurid visual culture, new material and new images used to impress and assert the power and validity of its images, to achieve the slick look of information that we have come to understand as irreparably meaningful.


See too: Katja Novitskova at Kunsthalle Lissabon

Katja Novitskova at Kunsthalle Lissabon

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And so a Post_genzken assemblies of latent forms, picked from the rubble of culture's meaning. Juxtapositions of surreal cultures, perma-wet newts draped over soft curves, lures, draw out the erotic bulbous content of two ergonomics, maternal and futuristic, formal erotics as design. Sex sells but make it latent for babies, and a generation later, adults questioning their attraction to PVC and silicone. Like reefs' sexual economics, generations of attraction breed the most sensual and beautiful creatures which design now too playing libidinal forms, like car interior's handles looking evermore like dildos, the attention here toward the fetishistic bits of a culture's attraction. A bassinet that looks undistinguishable from a sex toy, and so what does this say about culture.


From a long thread continued: Nancy Lupo at Wallspace, Goshka Macuga at Rüdiger Schöttle, Anicka Yi at Cleveland Museum of Art, Transformer Station, Olga Balema at Croy Nielsen, David Lieske at MUMOK, "Flat Neighbors" at Rachel Uffner