Cécile B. Evans at La Salle de Bains

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The storyboard/ideaboard has something so thoroughly [apt] to today. Unlike painting which finds its self-mysterizing its value (value in the interminably opaque, distantnced, surreal) the storyboard wears interpretation on its sleeve - it does not attempt to distance/detourn the information it contains - the storyboard collects referents, collects its valency. It's virtual, impressionable, loose. Choose your own adventure, hyperlink. It's more like the internet than a lot of the internet. 

Ben Schumacher at Musee d’art contemporain de Lyon



Since Schumacher’s breakout show at Bortolami its been a speed test of formal attempts to invent himself ahead of the wave of what is sure to be a new style of Techno-conceptuo. Simon Denny too. But it’s an accelerative model, one in which the formal gamesmanship, the hunt for the new october after an eternal september, must continually increase speed if not to be bogged in a style quickly homogenized as the spaces fill. An accumulative method against obsolescence, shiny new newness standing in for conceptual spark. Nothing will ever stand in for the initial rush of the first hit of an exhibition. It’s a Genzken style arms-race premised on art’s competition with the speed of culture as a whole. A losing battle, but a least Schumacher’s good at it.