Brook Hsu at Kraupa-Tuskany Zeidler

(link)

"Monochromes denied the pleasure of painting," someone once said to me. And Hsu's are like looking at a museum through Heineken bottles to deny the pleasure of the world. Turns out the world is still pretty good. And this chromatic loss only instead heightens desire, want for the full spectral ecstasy, denied in your beer-glassed body. Maybe this is what Homer meant by a wine dark sea, looking out its liquor bottle like a telescope, at a world in viridian. Drunk captains of the museum. But, this continually applied loss could be metaphorically over attended, it is too meaningful, and wants for. Its erotic denial is itself a thing, no metaphor please. 

Anna Uddenberg at Kraupa-Tuskany Zeidler

(link)

Uddenberg works with the obvious message that's unspoken, that you almost have to force, make explicit, that our cars look like tanned bodies, lingeried accoutrements, there's a sexuality to the leather curves of car interiors.  Which like the bootied bits of Uddenberg's before all but force the issue: the mass majority of sculptural history's content sexual and unspoken by the MET's blue haired.  And everyone now tearing at couches to reveal our innuendo's innards, digging for the implication from the things that caress us.



See too: Jessi Reaves at Bridget Donahue, Olga Balema at High Art (1), Olga Balema at High Art (2),  Torbjørn Rødland at Henie-Onstad Kunstsenter, Anna Uddenberg and Nicolas Ceccaldi at MEGA Foundation, Caroline Mesquita at T293, Alexandra Bircken at Le Crédac & BQ, Nairy Baghramian at Museo Tamayo, Jessi Reaves at Bridget Donahue, Bergen Assembly, Katja Novitskova at Kunsthalle Lissabon

Guan Xiao at Kraupa-Tuskany Zeidler

(link)

Of the Post-Harrison/Genzken object-orientated sort, finally able to polish themselves to the sexy level of Malls, toys and product packaging that they mimic.


see too: Rachel Harrison at Kraupa-Tuskany Zeidler

Rachel Harrison at Kraupa-Tuskany Zeidler

(link)

"so caught up in this chaos of signs and surface effects, it's precisely because it's so serious about space: In a time when space and image lose their distinction, and the old, ideal distance between viewer and object is always already filled up and occupied by a thousand communications, sculpture, too, finds ways of making itself multi-surfaced and schizo-temporal. In order to re-occupy our contemporary no-space, it trades in its timeless pose for a temporary one, or for a manic series of appearances." -Kelsey on Harrison

Whereas Harrison's objects had once incorporated the conditions governing the mall-like sign-systems overtaking public space, the all but destroyed semio-coherence of advertising illogic into art's poetic fissures structuring a grand palace on non-sequitur, have mutated, over-inflating into a cartoon version of a Harrison object itself, a big throbbing tumescence of a lumpen art object.

See too: David Lieske at MUMOK, “Flat Neighbors” at Rachel Uffner

Adriana Lara at Kraupa-Tuskany Zeidler

(link)

Objects create the artist, we use artworks as points to interpolate them. This exhibition's overt branding throughout - proving the objects maintain allegiance to their leader Lara - acts as a cover-up for the subterfuge in the diaspora of objects that fails to coalesce a proper artist. The objects become instead souvenirs of an artist-identity that Lara works so hard to peel herself from, leaving strange husks of it for us to deal with. The souvenir removed from its network of significance becomes its own whole object.


See too: Adriana Lara at Algus Greenspon, David Lieske at MUMOK