Kyung-Me at Bureau & Silke Otto-Knapp at The Renaissance Society

(KM, SOK)

One has its own internal world; one uses your internal world. You look into Kyung-Me's, awaiting you is a little snow globe of a world inside it. But the other reflects you, displays vessels for your pour over. Its why Otto-Knapp's feel like memories, they're projection screens for home films of your - like Koether - cultural baggage.


See too: Silke Otto-Knapp at greengrassi, Silke Otto-Knapp at Taylor Macklin, Jutta Koether at Bortolami, Jutta Koether at Museum Brandhorst

Richard Rezac at The Renaissance Society

(link)

but different from minimalism in their contaminating themselves in faint veils of cultural signifiers. These look purposed. Look like other things vaguely. As their power.  "the elusive mechanisms of interpretation," They appear designed but without a purpose we can ascertain. We are so accustomed to objects bent to our service that appearing without purpose we call alien. The power of the uncanny is to teach us what we expect from certain forms by removing the parts that would cause recognition replaced with mystery, instead all the doohickies and flimflams and us wondering why we expected it to begin with. The flux capacitor must only look like the expectations a public has for such an object.


See too: Alicja Kwade at Kunstmuseum St. Gallen, Richard Rezac at Isabella Bortolozzi

Robert Grosvenor at The Renaissance Society

(link)

Amongst the sterility of minimalist forms Grosvenor's like the subtle bulge in the zubaz of propriety it reminds us of. Grosnevor's doesn't feel naturalized, but constructed, affected, conjuring the sweat of effort and work that minimalism tried to avoid through industrial process and design. Grosvenor's minimalism reminds us of work and sweat and bodies, of the designer, the sun baked engineer. Grosvenor's minimalism reconsiders the earthliness that minimalism tried to disavow, work.

Robert Grosvenor at Karma