AR: Lucie Stahl at Halle Für Kunst Lüneburg

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Originally Posted: August 5th, 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.

Lucie Stahl at Halle Für Kunst Lüneburg

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We haven't had a CAD Stahl solo since 2014. Which whose then, despite their slight derivitives, in the specificity of their slick digi-crust-materialism and resolution-as-sex, we loved the scanner trash prints: what everyone else was at such pains to display with existential and overwrought, like, expression, Stahl had turned into cheap easy and fast slacker products that got closer to the existential dread of that material-reproduction by embodying all its cheap easy fast sexy disposability. Somehow better than the cold tricks of Guyton/Walker because Stahl's was falsely warm. But that latent sadness present in this ex was sort always so.

Vittorio Brodmann at Halle Für Kunst Lüneburg

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By turning the painting into an accumulation of "Brodmann moments", in a sort cave-painting/graffito mode, Brodmann compositionalizes his semio-capital, transmuting it into information, into a field of redirects failing to place it anywhere, turning it into painting as sort of recursive field, allowing to renege on the artist task of "be Brodmann" while being Brodmann.


see too: Julien Ceccaldi at Jenny’s Fredrik Vaerslev at Centre d’Art Contemporain Passerelle, Vittorio Brodmann at Freedman Fitzpatrick

Mathis Altmann at Halle für Kunst Lüneburg

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The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. Housing replaces houses replaces house distinct from home, which is bombed out. The model encapsulates this world governed by virtual features, planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in. The architectural model exists as a plan scalable and virtual. The mix of real scales and virtual scales - a pipe standing in for piping - a vertiginous collapse, our proprioception lost in relation vibrates. Altmann's loss of orientation to physical objects has followed him for some time now.