Marina Xenofontos at A MAIOR

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A disappearance into the christmas trees of capital. Placing your art amongst commodities is a higher form of self-flagellation. 

Emilia Wang at A MAIOR

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Horoscopes broadcast amongst commerce, hosted as art. Astrology is particularly well situated to fit between both. (see: Art's Astrology: Sung Tieu at Emalin, Ei Arakawa at Kunstverein Dusseldorf, "[art,] a machine for semio-recombination we could call meaning. Artists become not merely the recombinators of signs, but the producers of machines to do this, to be turned to on, set to run. Endless interpretability becomes their function.") The stars down to Earth. It makes sense, feels comfortable, reminiscent of artist-made commercials in the 60s. Wresting open a space for its message, for your interpretation. 

Marte Eknæs at A MAIOR

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Safety products not only abating hazard but highlight its possibility. A potentialized air of drama that we'd love to accumulate on art's stage: at any moment calamity, at any moment circumstance. There is said to be "a situation." Sort of like an "experience." Even this weak force in the real Painting wishes it could hold such potential. Some previously invisible thing be felt.  The "layers of infrastructure that determine experience."

see too: Marte Eknæs, Sean Raspet at Room East