Yuki Kimura at Kunstverein für die Rheinlande und Westfalen

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"Photos of brandy glasses usually are shot in the white cloud of virtuality to reduce the room, whereas these are built to hold it." Objects to hold a room. Its a compelling idea. a mirrored sphere like cupped hands turned inside out. An aleph holding all points in one stupid ball. You don't see yourself. 

Yuki Kimura at Jenny’s

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A means of physicalizing the otherwise digital nonexistence of video, a brilliant adaption to package and sell televisual color, all the brilliance TVs advertise held in crystal. A slipperiness to Kimura's, objects or photos whose concreteness or hopes for singularity or individuality has a tendency to bleed. Glass which we don't really see but for its reflection, or flaws, it only warbles a world surrounding it, refracts what we put through it. Photos of brandy glasses usually are shot in the white cloud of virtuality to reduce the room, whereas these are built to hold it.


see too: Yuki Kimura at Wattis

Yuki Kimura at Wattis

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The Double is a strange fascination of many, and PR's referencing the duplicitous 4th dimension, time, and spatial slippage everpresent, and our holographic space/time proves gravity an illusion? positing perhaps that the double is less as a conceptual predicament than a material one: pieces of clean metal in a vacuum will auto-weld together, atomically unable to differentiate their objecthood and so confused become one. Mathematical quandries of whether or not "2" exists, or "1" for that matter, is saying 2 silicon atoms true, or are all silicon atoms unique clouds that aren't mathematical abstractions stripping unique properties, particularly when today and tomorrow don't particularly exist. Tricky questions, sure.

Group Show at Taka Ishii Gallery

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The early 21st century of art will be remembered for a stylization of opacity (blankness) that, regardless of whether or not it actually did, connoted intention to mean. Silvered photographs with surrealist orbs hovering. That there exists a connotation or affect of meaning that remains separate from it, acting to totemize objects as clues styled to conjure the affect of signification. Much more apparent in group shows as the objects become disenchanted from their significant network. That what we find profound might be a mannerism.

"The fact that there were two of them signifies the end of any original reference. [...] Only the doubling of the sign truly puts an end to what it designates." -Baudrillard

See too:  Group Show at Salle Principale, Merlin Carpenter at MD 72