Gaylen Gerber at Studio for Propositional Cinema

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"In the second exhibition Gerber presents two Supports, each oil paint on cinematic props of Nazi scalps from Quentin Tarantino’s Inglourious Basterds."

"Frieze Magazine: Questionnaire: Sturtevant.
What film has most influenced you?
Any film of Quentin Tarantino because he is a concrete example of the vast barren interior of man."

R.H. Quaytman at Miguel Abreu

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Miguel Abreu surrounds itself in a very distinct aura, it desires so strongly to be fictional literature, like a Borges labyrinth, where fiction is made to feel real, and the library the realest of all, from which entire worlds stem. Not even that Quaytman chapters her work, all the exhibitions feel like arcana and leaden magic where complexity's turgidity make it feel all the more real for its almost bureaucratic commitment to the fiction.  This PR treats us to the tale of a painter chasing an engraving that a philosopher loved so much to own inspiring a much loved passage of text, finding upon finally seeing the work, that something was hidden behind the print, a whole other world, but the thing couldn't be spliced and x-rays couldn't reveal, and this painter, Quaytman, poured over databases and archives dedicating herself to the task of attributing this engraving behind the engraving, a man in black robes. Eventually it is found not from obsessive pouring, but instead "a little luck." And the painter produces a whole new appendix to the chapter about the discovery revealing "an answer that does not satisfy so much as add complexity and mystery to this icon of ideology." Of course its just a google search away, but the point of the Borges story is would you want it revealed?

Mathis Altmann at Halle für Kunst Lüneburg

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The Model becomes predominate as the world's point of scale becomes unmoored, and reality floating between the virtual and material conditions abstracted by floating points of enumeration etc. etc. Housing replaces houses replaces house distinct from home, which is bombed out. The model encapsulates this world governed by virtual features, planning, projected statistical everything, abstraction of everyday. Looking down at our hands the sphere of the earth is said to be at our fingertips. This abstraction feels lived in. The architectural model exists as a plan scalable and virtual. The mix of real scales and virtual scales - a pipe standing in for piping - a vertiginous collapse, our proprioception lost in relation vibrates. Altmann's loss of orientation to physical objects has followed him for some time now.

Klara Lidén, Alicia Frankovich at Kurator

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A desire to express a body. But of recent the body is expressed through objects and not "figuration" but its intermediary, witness ourselves by the surrogate of objects that address it.  Think of Cady Noland's institutional objects, learning something about the specifics of flesh under society. Of elder's walkers and handcuffs. We make objects for ourselves and so of course they express us. And eventually they exist for so long beside us, silently shape alongside us, that they begin to take on facets and express things that were latent, learning by proxy.


See too: Erwin Wurm at Kunstmuseum Wolfsburg, Marte Eknæs, Sean Raspet at Room East

Heimo Zobernig at Simon Lee

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This is as close as Zobernig will ever get to tie-dyed, and the distance is important one. Zobernig's approach is far too flat-footed to pace even stoner psychedelia. The colorful fuck-all isn't pleasant to weary red eyes but an irritant meltdown of modern values, gobbling all tabs before freaking out and regurgitating it back out all over the squares. This is a joke about post-war babies running races against their parents values sort.

See too: Than Hussein Clark at Futura, Heimo Zobernig at Indipendenza, Heimo Zobernig - Petzel,  Krupp, MUDAM

Than Hussein Clark at Futura

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By staging the objects as theatrical their vacancy becomes strength, hollowness holding a surface for eyes to move and containing whatever importance the narrative can attribute it, like a beautifully feathered bird you are required to know nothing about, or a Tahitian landscape unencumbered by syphilitic artists, or a tie-dyed Heimo Zobernig.  Like Sci-fi as excuse to CGI a lot of shiny things, theater to reimagine some neo-Memphis-group for Petra von Kant.

See too: “The Violet Crab” at DRAF, Than Hussein Clark at Futura

Group Show at Mary Mary

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The loaded vacancy of de Chirico, which everyone early learns is caused by discrepant perspective amplified by late Italian sun, here duplicated in a way that averts explanation, objects taking on the same eschew weight hovering with a coded urgency of stark quiet.


See too: Mathew Cerletty at Office Baroque, Matthew Brannon at Casey Kaplan , Group Show at Salle Principale