Thomas Eggerer at Friedrich Petzel

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Seurat's subjects were lost to method where the calculative replaced care, an artifact of style that Eggerer transmutes into a violence, draining the person from people under his aerial high-view out over his subjects. What makes Eggerer an even icier painter than the morbid bloodletting of photo-influenced Germans is Eggerer's return to moments before photography's explicit rigamortis, when then those were still dying.


See too: Thomas Eggerer at Richard Telles, Luc Tuymans at David Zwirner, Michaël Borremans at Dallas Museum of Art

Simon Fujiwara at TARO NASU

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Anthropomorphic bivalves with micro-cyborg corporeality, the clam, the armored body crusted scaled flesh, overlay to the clean imperfect labial birth stone, the pearls opposite representing this Ghost in the Shell- did we mention cyborgs - the body adorned, internetted to its surroundings like Swiss Victorinox bodies. The Clam is the representation of the human, examples of talking clams accelerating.


See too: Valerie Snobeck at Essex Street , “Flat Neighbors” at Rachel Uffner  Andro Wekua at Sprüth Magers, Anne Speier at Galerie der Stadt Schwaz, José Rojas at Vilma Gold,  “RR ZZ” at Gluck50

Martin Wong at Bronx Museum

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see too: Martin Wong at P.P.O.W

Stewart Uoo at 47 Canal

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Uoo is fashionable, and that used to be an insult. Fashion is means for representation. Fashionable would mean representation of a moment- pejoratively implied that the moment is fleeting. Speculative-fictions - Sci-Fi - fashion, perhaps misguidedly, attempt projections of futures to distend its transience by destroying its moment. The trendbook's fashion is always fleeting but, at their best, allow new representations, if only for a time. Anyway, Uoo's "politics of luxury" - like many today - is for a fashion without camp, that the glitz doesn't necessarily have to be artifice, that we can be rich.

Julia Wachtel at Vilma Gold

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Wachtel's sign systems of the cultural meltdown, express the rupture, floating between Baldesarrian inanity and Wolfsonian semantic violence. Finding the tense middle ground where the inanity is the violence, of someone hitting you in the face with something so dumb.


See too: John Baldessari at Marian Goodman

Kaspar Müller at Museum im Bellpark

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Not knowing is unacceptable, and outright rejection would prove viewer's impotence, thus created an environment where artists are able to produce further and further extremes of blankness filled by those refusals to not-know, whose sensory deprivation creates phantasms, see the abyss looking back because we are doing the projecting.


See too: Kaspar Müller at Société, Kaspar Müller at Federico Vavassori

186f Kepler at Contemporary Art Daily

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In late 2015 Tinder added a "super-like" function to its standard swipe left/right yes/no configuration. The "super-like" was a limited use feature, whose expendable nature - one-time only (per day) - made it possible to express through the burning of it that the person in question really meant it and introducing further rarity and actual symbolic exchange in order to counter-act to what had anecdotally become a numbers game of mass publication for later curation.  and would thus stand apart from a crowd in a mass feed of regular "likes." That the social of course would have to absorb tactics of marketing the plenty of fish in the sea were going to be caught with anything but dredge nets.


"Clifton Palace," “Pho Viet Huong” "Vzszhhzz," "Astro 5," and "Tes Yeux" at 186f Kepler,