Rachel Rose Enclosure Pilar Corrias, London

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Weather you can turn on and off, affect detached from reality, a sunset in vial. The preservation of feeling. The embalm of sentiment. Painterly effects, a sun you unplug. Art, like the dandelion, becomes a tool for the storage and display of moonlight, sensation.

see too: Steve Bishop at Kunstverein Braunschweig, Pamela Rosenkranz at Karma International

Sam Lewitt, Lucy Raven at Pilar Corrias

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Clean the place out. Strip the lights. Burn the light to turn up the heat. Set the lights to "Siren." Representations of our current boring dystopia, both artists reaffirming the callous concrete conditions of the world, its artificialness and austerity, a coldness we begin to find somehow pleasing, enjoying our pleasure denied by assertions of power, warmth in the current that designates our capitalist life, comfort in our mastery by others as we acclimate and absorb the cold conditions of our world, artists thinking in the master's voice.


See too: Sam Lewitt at Kunsthalle Basel, Sam Lewitt at Miguel Abreu, John Knight at Greene Naftali

Ulla von Brandenberg at Pilar Corrias

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This gesture - laying a thing next another thing to break its singular frame - is a meme of art, and we should wish to detour funding, get Grad Students to surrender their Broodthaers dissertations and instead advance proposition of, a definitive history, of this gesture. Start with his potted plants if necessary, the gesture plays a theatricality. Maybe follow a lineage Strau and Blinky Palermo and of all the capital F Fetishists, Tom Burr - who extracted a fey contingency from it- through Lieske, working into the whole Mathew thing, and dispersed into the ether of Europe, formalized. Not sure why I'm including only men in this lineage, arguably neither Harrison or Genzken quite fit, but you can include that in your theses too.

see too: David Lieske at MUMOK , Tom Burr at Franco Noero Drunk

Philippe Parreno at Esther Schipper

(Link: Philippe Parreno at Esther Schipper, Schinkel Pavillon, Pilar Corrias)

Parreno always felt askew in the ideological containment of Relational Aesthetics. Yet Kelsey’s final cut at Relational programs as coup-de-grace description: “capitalist realist adaptation of art to the experience economy” fits particularly unfortunately well to Parreno. Parreno’s premised on a pagan-importance of experience run through the fun-house of post-modernity, a contemporary update of some of the quasi-spiritualism of minimalism’s Light and Space and Irwins phenomenological trips, forgetting the name of the thing one saw as a salve to ordering impulse of capital, rendered now (further realist ala Kelsey) with symbols and mis-en-scene, alienating the experience of today’s banalities towards the to-what-ends? of the real contention of RA. If no one has made such bold claims in the beginning we wouldn't have had the maelstorm that colors the sight of these things today and they would look like mere art, instead of politically contentious objects that fall under a name that we can't forget and thus cannot see.