Showing posts with label Micheline Szwajcer. Show all posts
Showing posts with label Micheline Szwajcer. Show all posts

Friday, March 6, 2020

François Curlet at Micheline Szwajcer


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Darren Bader, Bertrand Lavier, Baldesarri, Martin Creed, Mungo Thompson, François Curlet. Not quite pop art, not quite conceptual art, derived from each, a cartoon of both.

Saturday, October 12, 2019

Daan van Golden at Micheline Szwajcer


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Wasn't the promise of van Golden's some eternal nubility, a candy whose wrapper never left it.
A sort of perenniality. Old paintings that don't look it. van Golden died in 2017, but paintings fresh. Wasn't that the promise of art. You physically cannot remove the wrapper.

Sunday, May 26, 2019

Ann Veronica Janssens at Micheline Szwajcer


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Art may be stupid, but the universe might be worse: arbitrary. Occasionally things click and the world briefly goes dark. A universe at large enough scales like clockwork. That we view through lenses wet with glass. The phenomenological that seems an attempt to reason with meat watching these big careful clocks.


Ann Veronica Janssens at BortolomiAnn Veronica Janssens at Micheline Szwajcer


Monday, November 3, 2014

Daniel Dewar and Grégory Gicquel at Micheline Szwajcer

Daniel Dewar and Grégory Gicquel at Micheline Szwajcer

Pottery Barn and Eddie Bauer catalogs function in their emotive repackaging of idyllic mythos into the objects it sells, the same packaging of Boutoux’s PR here, imbuing wool thick with nostalgic ideals of romantic farm visions, warmth’s magic armor against the coldness of capital.  Describing this doubling-nostalgia as Amanda Ross-Ho in a Pottery Barn suit would fail to acknowledge Robert Gober’s influence on all three and the remaking itself an affective trope. But whereas Ross-Ho’s scaling produces a sort of hippie signage as terror, or Gober’s cat litter as a story unto itself, the sweaters, toilet basins, and foot-jugs never best the nostalgia of craft that suffuses it.

Friday, July 18, 2014

Ann Veronica Janssens at Micheline Szwajcer

Ann Veronica Janssens at Micheline Szwajcer

Between Roni Horn and Donald Judd, slicing distinction thin, Janssens, somehow more primary than both, always with candy ready, the polish of beauty. In person this exhibition would be the breath of cool ocean breeze. Unlike both mentioned there is no cerebral conceptual coldness, only the jack hardwired direct to pleasure centers of so much seduction, containing within them all the sex of muscle cars, the indulgence of white sand beaches. Imagine making love in this room with the windows open and the world coming in to meet you.