Olivier Mosset at MAMCO

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"Erotic sexual denial is the practice of refraining from sexual experiences in order to increase erotic arousal and/or tension. The prohibited experience can be narrowly or broadly defined and banned for a specific or indeterminate length of time depending on the practitioner. The experience withheld can be any favored or desired activities, such as specific acts or positions, provided it is something the practitioner wants. Erotic sexual denial is commonly used as sex play between intimate partners, but it can also be indulged in as an individual practice."


See too: Olivier Mosset, Karin Sander at lange + pult, “Seven Reeds” at Overduin & Co.

Mai-Thu Perret at MAMCO

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Painting is the ultimate art commodity but these still feel like the commodes of home catalogs and design-porn magazines. Souvenirs of a high-end experience. Perhaps Perret predicting the craft object trends. The pottery on everyones shelves. The neon signs somehow trending in summer cottages. Perret originally created a narrative of a fictional utopia which "produced" the artworks. Which is all the funnier since the trends that look like hers all premise themselves on the selling of hopeful futures, the crafts we will all already be acclimated to post-apocalypse, raku firing our dreams. Perret eventually got rid of the utopia fiction, and then they became just art, much less utopic.

William Leavitt at MAMCO

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For many, it's important, a film's believability, the story's ability to maintain its dream-thrall and for its duration become real, its objects become realized. We understand fiction as able to - even momentarily - become actual. And in Leavitt's work seeing false things we know have the power to become real is its humorous anxiety. The various distances from "realness" are its multiple punchlines, as far from realness as the the science lab on view and we can still understand our ability to believe in them as signifiers of science lab.  At the other end, like Guillaume Bijl, the stages are hyperrealist with question of at what point are the arrangements decor and at what point it is the thing it represents, i.e. authentic living room or staged, is the obvious question, the answer is that all living rooms are. At what point does our decor function as a reflection of society and at what point do our living rooms produce their own image for Hollywood and your neighbors to reproduce, and at what point does suspension of disbelief just become permanent.


see too: William Leavitt at Greene Naftali