Showing posts with label Kunstverein München. Show all posts
Showing posts with label Kunstverein München. Show all posts
Tuesday, April 12, 2022
Wednesday, July 17, 2019
Lisa Holzer at Kunstverein München
(link)
"The resulting images at once mock and celebrate legacies of abstract painting while also teasing cliches and the expectations related to the photographic medium itself. With humor and critical wit, her practice addresses conditions of labor, exposure, visibility, and power confronting artists, artworks, and the art system itself."We're going to just cross out the second sentence.
You know what the market has shown every collector wants walled? Abstraction, and so art has become a giant machine mining sources of abstraction. And the endless ironizing of abstract legacies with its remaking in different modes (fire extinguisher, silvering, abjection, food photography) ostensibly acts as critique. Pollock was just spurting cum, symbolically accredited decoration, abjection whatever; the critique fails to, despite 40 years of it, functionally do anything. It's like battling a ghost with a longsword. Abstraction is the inkblot that acts like silver, that acts like mirrors, to place whatever you want to see in it. And we keep digging mirrors.
There's a cake and eat it too joke somewhere in here.
Wednesday, September 3, 2014
Ger van Elk at Kunstverein München
PR willingness towards realistic explication separates this one from the packets of them, even for casual cliches like “slowing down the act of looking,” helping no one.
The paint/picture/screw doodads are a mystery, of interest, but mostly the show looks like your quintessential european museum show; dry, disparate and academic. Schjeldahl once named all new French art lousy, but its more your European allergy to fun, funny, or visually pleasurable art. The slicing together photo-panoramas is a trope that can die anytime now, just unbelievably dead. But, In the context of its conceptual time period, this stuff is a riot. van Elk (RIP) seems to have weaseled some interest under the Anti-fun-dictatorial-radar as subtle means, the way things are put together always slightly off, strangely chosen, mostly hidden here by piss-poor documentation which takes such for granted, the rigging for the panorama-graph, the airbrushing manipulation of photos, the possibly backlit versions, the what-is-going-on-with-the-man-hanging in the background as sort of “Three Men and a Baby” type ghost myth. It puts him in line with the contemporary materio-surrealists of much new contemporary euro art.
PR willingness towards realistic explication separates this one from the packets of them, even for casual cliches like “slowing down the act of looking,” helping no one.
The paint/picture/screw doodads are a mystery, of interest, but mostly the show looks like your quintessential european museum show; dry, disparate and academic. Schjeldahl once named all new French art lousy, but its more your European allergy to fun, funny, or visually pleasurable art. The slicing together photo-panoramas is a trope that can die anytime now, just unbelievably dead. But, In the context of its conceptual time period, this stuff is a riot. van Elk (RIP) seems to have weaseled some interest under the Anti-fun-dictatorial-radar as subtle means, the way things are put together always slightly off, strangely chosen, mostly hidden here by piss-poor documentation which takes such for granted, the rigging for the panorama-graph, the airbrushing manipulation of photos, the possibly backlit versions, the what-is-going-on-with-the-man-hanging in the background as sort of “Three Men and a Baby” type ghost myth. It puts him in line with the contemporary materio-surrealists of much new contemporary euro art.
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