Kye Christensen-Knowles at LOMEX

(link)

I'm reminded. Recombinative aesthetics. Like how Grimes recent aesthetic is 9th generation Akira ran though 15 years of Deviant Art, echoed so long until it becomes its own Grimes' "new." How in the storm of West's Ye arrival samples slipped though the stream of producers, missed credits and Francis apologizing afterward. Leading the label head of the stolen artist to lament that Kanye was "another case of an artist who capitalizes on culture ... and because culture trickles up, this means we are all basically working for him." This is likely what the PR refers to as its "degenerative history." Is anyone lauded for collecting Michael Whelan originals? Instead it's the katamari dredge of art that absorbs it into star. The found VHS tape of history, which feels like an artifact instead of a representation. This is a problem for all culture but it does show there's still a crowning distinction between high and low and who gets to wear it.

Julien Ceccaldi at LOMEX

(link)

Something's changed here; what had been Ceccaldi's bright branding of commercial trinkets, hangbags, fashionable shirts, comics, has instead become a brand of art flexed, making art objects, like, rather than saleable commodities (hand)painted to retension their exchangeability as brand, these recent objects are painted onto to place signature on fungible blanks that painting has always been. Painting onto a handbag dug something out, into its own face as facade, rather than the brand saturation going on here, place your dots on a car for charity, placing your icon on everything, whatever franchising you can get. You can place your face on anything it turns out.


see too: Julien Ceccaldi at Jenny’s, Pentti Monkkonen at Truth and Consequences, Pentti Monkkonen at High Art, "Paris de Noche" at Night Gallery