Marianna Simnett at Kunsthalle Zürich

The documentation here comes from at least three different Museums: the, as stated, Kunsthalle Zürich, but also Frankfurt's MMK ZOLLAMT, and the above image from NYC's New Museum. Glitches as evidence of dislocation, of images just completely adrift at this point, does it even matter at this point, who cares at this point. Put anything anywhere, the video-stills are photoshopped in anyway. Drag and drop. An exhibition appears. It's the metadata that counts. How far can we dissociate. Someone should standardize the museum, to be more like the suburbs its already become, you could find anything anywhere, a McDonald's like a Guggenheim, in every metropolis, a LOVE sculpture in every park, tastes standardized across continents, fly to Zurich and still feel at home with real New York artists or cheeseburgers, anywhere. Is this dissociation?


See too: Nairy Baghramian at Walker Art Center?

Jana Euler at Kunsthalle Zürich

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Unlike Kelm, or Cerletty whose expanding clue-board subjects serve towards conceptual opacity, Euler’s divergent subject maze, as the Press Release and Isabelle Graw’s breathless writing on the artist attest, is premised on the allure of its referential breadcrumbs baiting the viewer/reviewer down long winding paths of explication. We do not enter pictorial space so much as unpack its surface display. Self-awareness in symbiosis to the organs-without-body of art consecration -  subtly highlighted in Graw’s admission to her own place within Euler’s network - is clever, smart. But that though the game is sometimes fun, often the explication is berating.


See too: Annette Kelm at Gio Marconi, Matthew Cerletty at Office Baroque.