Heji Shin at MEGA Foundation

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Explicitness is hard to deal with. particularly in the subjective: the photographs depict a new subject in the world. Looking away is not an option, the subject may die if no one cares for it and the human with it. You cannot deny this is literally us, you crowned the same as kings with photographs almost daring attempts at conversations of the aesthetic, over what is our most physically objective moment of personhood. What language do we have to deal with this. The glaring red gap in.

Anna Uddenberg and Nicolas Ceccaldi at MEGA Foundation

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Ceccaldi now making paintings like high-school students from the internet, and Uddenberg's physically manifesting advertorial fetish for both tech and flesh in cyborg refresh to Allen Jones, all the odder for their ambivalence.  Both engaged with embodying cultural representations (which might explain the odd cardboard modernism) where identity is emergent from cultural signs rather than any sort of inherence, becomes currently impossible to imagine an identity outside of cultural signs. Uddenberg's recent sculpture are weirder than Jones' because they seem to emerge from the surrealism of culture itself, rather than the artifact of some dirty boy's head.

See too: “About Face” at Kayne Griffin, Nicolas Ceccaldi at Project Native Informant, Nicolas Ceccaldi at Mathew, David Rappeneau at Queer Thoughts