Pilvi Takala at Centre for Contemporary Arts

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Takala's The Committee, is a story of children given fantastical power faced with the continually dwindling possibilities of real: a child's unfathomable wealth, 7000£, quickly grinding down and halting the committee. The fantastic cannot be realized. One child equates the once impossible amount to a mere 7 iPhones. It's not enough for everyone. Unblinkered several children move quickly through history proposing different corporate schemes to generate profits with websites and business models (already envisioning themselves receiving discounts on fees) to sustain their wants, and the whole thing moving from open possibility to well-trod territory with a patterned timing. Watching the death of the possible in people so young raises questions of whether this is simply precocious social replication of the status quo, or whether capitalism is just natural to us and there really is limited amount of practical means and invention in world. The children, in the end, get a single -albeit large - bouncy castle.
The limits of invention are apt to both art's open escapes (eyerollingly) and Pivli for whom most of the films generously on view here each take their genre from established entertainment, candid camera shows, Kids Say the Darndest Things, prank videos, etc. Meaning while actual modes within possibility might be limited, that its all about how you work within the framework. The children, in the end, get a single - albeit large - bouncy castle.

“Eat Abstractedly” at Mary Mary

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Photography is in a good place right now, pre-packaged in a liquid asset - no matter how banal (say, Jakschik) or garishly putrid (Gordon) the work becomes subject, concept. All work equalized under the format and coherent, any artistic dissonance mediated by the format. In the diaspora of images available today, any practice is coherent in comparison. The image package. The predetermined object, say even a chair, a format, allows an immediate relation to, a lozenge for swallowing. The slight remove allowing its crystalline vessel. A photo of anything, a feed of it.

See sculpture too : Paris de Noche" at Night Gallery and as well : Annette Kelm at Gio Marconi , Torbjørn Rødland at Henie-Onstad Kunstsenter, Torbjørn Rødland at Kunsthall Stavanger

Richard Wright at The Modern Institute



Wright continues his laborious ephemerations castaway from the wall, casting glass to cast light ephemerals back on the walls, light as a brush. Beautify your site-specificity, home, lobby, whatever, it’s made-to-order non-representational design service fitting niche market of anywhere you wanna be. “Wright has adapted the technique initially employed in his recent commission for Tate Britain’s eastern windows, in the Milbank foyer." Museum wing, to gallery, to your home, totally beautiful.

“Inside Arrangement” at Mary Mary
John Finneran, Jonathan Gardner, John McAllister, Gerda Scheepers, Sam Windett



Much painting has come to resemble pop or electronic music, overfilled genres in which the stifling amount in oversaturated markets leaves little room new, the micro advancements recycled from the waste mines of the past, looking for that new sound that rockets to the top of charts, played in every club - a brief intense pleasure, briefly, before everyone else leeches onto that sound, and once again sounds bland, recycled, grey. Painters seem scrambling for that remix of styles that looks so candy cane pleasurable. A new form, a rethought style, the oblique approach to re-critique past participles, the re-appropriated language of art, pasts verbs become nouns rearranged on a surface.
This show got all the pop of paintings now. That meta-winking but direct surface. The post-critical critical. Shining colors. The just so slight flat, flat-footed picture plane. It looks great. Scheepers paintings definitely hitting the sound of tomorrow’s moment, a sort of meta-kassay poptronics. The Bonnardian Instagram of yesteryear in flat Mcallister. The loosed goose of Finnerman’s Munchian spirtually brushy. Sam Windett’s a little too earnest brushy futurism. And the awkward illustrations. These five have to be making the most desirable paintings today.