Vittorio Brodmann at PAGE (NYC)

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The teenage sock, the teenage notebook - sites of primordial soup of painting congealing life, sentience, evolution doesn't always lead to advancement, occasionally a butthole develops on a forehead, leaves a whole family tree in ruin - these are the expenses of transformation, a horribly burned beast, a whole society left with questions of euthanizing the entire series, of paintings, but we don't do that anymore, we let them live, you never know when the butthead will teach you something.

Vittorio Brodmann at Halle Für Kunst Lüneburg

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By turning the painting into an accumulation of "Brodmann moments", in a sort cave-painting/graffito mode, Brodmann compositionalizes his semio-capital, transmuting it into information, into a field of redirects failing to place it anywhere, turning it into painting as sort of recursive field, allowing to renege on the artist task of "be Brodmann" while being Brodmann.


see too: Julien Ceccaldi at Jenny’s Fredrik Vaerslev at Centre d’Art Contemporain Passerelle, Vittorio Brodmann at Freedman Fitzpatrick

Vittorio Brodmann at Freedman Fitzpatrick

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Whereas for Kantarovsky style rests on the surface, forefronted and delivered, for Brodmann style is suspended  in the dispersed particles of its past participants, in the soup of its references, closing in on the liquify setting of its blender. Brodmann’s an “artist to watch,” dissolve of the darker edges of his earlier characters into its broth of tasteful painting, put less and less at risk with each show, exchanging the teenage characters for the pastel hues of adult refinement, and these are more refined but lose the uncomfortable sweat of its awkward adolescence heading off to market.

See too : Vittorio Brodmann at Gregor Staiger , Sanya Kantarovsky at Marc Foxx

Vittorio Brodmann at Gregor Staiger



Well painted cartoons in lavish colors, deft paint. Less a Condo watch-me-paint-something-stupid than 4th generation Guston, trickle filtered through the present painting substrate, Sillman and Schutz and Vance and Lassnig - funny amalgam in a Picasso Baby reverent irreverence, dissonant with the painted ennui of awkward bodies, the baseline for painting today.