Anne-Mie Van Kerckhoven at M HKA

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CAD a disservice to artists whose exhibitions come to look like amassed icons floating in the etherous white of networks we scroll through, aggravating the cognitive fatigue of diaspora, ending in images as hyperlinks we cannot click or know. En abyme we fall into the fatigue of image consumption, the documentation illustrating the pages we scroll through.  If much of 2010s art succeeded on its ability to alleviate symptoms of screen fatigue by presenting walls of neutrality's palliative, or meme-like jewels for spread, see Sanchez et al., then the big exhibition's ostensible generosity and vanity becomes its disadvantage.

Jan Fabre at M HKA

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If no longer a style, your common Artworld artist is intended to develop something distinguishing their career from others that look just like it, a sort of personal subjective measure called "sensibility," whereas Fabre has none. Fabre will do anything. If there is a sensibility it is something closer to Hollywood rendition of zaniness, the "working man" using all the tricks in the books to close in on some idea of what ostensibly wacky artists do opposed to the tasteful remove come to prominence from the artworld for artists and typified by the CAD roster international style. But, Fabre's over-plethora of identifiers, its wackiness, rather than achieving some profoundly great outsider status, paradoxically ends up looking like the art that underpins its different means, modes as mannequins dressed up differently to look different but the same. Its foreboding omen to all the young artists today engaging in this sort of cultural performativity, iconized by the last New Museum Triennial, in which artists seemingly engaged in some escape from art to culture, possibly aren't really at all. 

See too: Venice Biennale vs  New Museum Triennial