Kerstin Brätsch at Gladstone 64

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The point is, the production is product. The machine you create to create. This replaces meaning. The machine does. No one knows why Pollock dripped anymore, that knowledge is lost. What is important is that he created a machine that dripped. 

See too: Kerstin Brätsch at Gio Marconi, DAS INSTITÜT at Serpentine Gallery, KAYA at Deborah Schamoni, Kerstin Brätsch at Gavin Brown

“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,

AR: DAS INSTITUT at Serpentine Gallery

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Originally Posted: May 17th, 2016

Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

“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.