“Sitting Bone” at MAVRA

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Hasn't this been like the third Giger chair we've seen in the past year? He's been mentioned in at least 2 press releases (Caroline Mesquita at T293 and Anna Uddenberg at Kraupa-Tuskany Zeidler) and there was for sure another chair at Lomex in their EAT CODE AND DIE. But the last Giger chair on CAD appears to be the Swiss Institute's exhibition of chairs, Fin de Siècle, in 2015.  Gigerian chairs simply feel present in the winds of art with its trends for examining bodies through the technologies that are built around them (Lupo, Reaves, Uddenberg, et al), so the skeleton melded  architecture fit for more cushioned parts feels apt.  Chairs are an innuendo for body, an allusive or oblique remark or hint towards the meat that you don't want to be forced say aloud as the gas bag of "human" so you politely place a chair, like those placed in the corners of hotels/lobbies not to be sat in but to politely declare the room capable of relieving your meat baggage, place a surface whose softness designates the degree of welcome to your reception, like you don't want to say butt so you say Sitting Bone.


See too: Caroline Mesquita at T293, Anna Uddenberg at Kraupa-Tuskany Zeidler, Jessi Reaves at Bridget Donahue

Sarah Lucas at CFA Berlin

Of which of course innuendo relies on social expectations. And so when you see a lumpy rocken form as a huge cock you are in part seeing its cultural conditioning that makes it so. The dirty mind sees the content of a culture that is present but subsurface. Some of the early "venuses" were barely human let alone women, yet we see the maternal. The lengths to which stretch it, how deep it runs. Man two spheres a tube, woman a bucket and curves.


See too: Lisa Yuskavage at Contemporary Art Museum St. Louis