Jacqueline de Jong at Château Shatto

Jacqueline de Jong at Château Shatto

Compare this to the tortured wranglings of most contemporary interviews, the breathless story of a life: https://frieze.com/article/life-and-times-jacqueline-de-jong

Steve Keister at Mitchell Algus

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Packaging, those ubiquitous garbage shells and skeletons lining boxes, deprived of the commodity, is each its own Fecteau sculpture, enigmatic and otherworldly, carved with some idiosyncratic system inferring the subject carving it, the capitalistic pressures governing the commodity or the artist, similar systems. Appreciate packaging. So covering this artifactual content of packaging with Olmec heads is a strange choice, answered by the artist's statement: “the ubiquitous Styrofoam carton inserts which littered the sidewalks of Tribeca contained a kind of relief that echoed the forms which distinguish Pre-Colombian art" which lovely to believe some illuminati like conspiracy of mesoamerican symbologies latently placed into our refuse, and furthered with the observation, "Keister points out the significant influence of pre-Columbian art as a common modernist source, and the earlier" which we'd love to believe.

See too: Richard Rezac at Isabella Bortolozzi

Birke Gorm at Croy Nielsen

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Our rising desire for materiality in a world losing it manifests in fetish for increasingly grotesque versions. Coprogenics. "Author Donna Williams [...] points out that fecal smearing serve many real purposes that are often overlooked by caregivers and medical providers:
"Provides a sense of control over one’s body and environment when other areas of life are out of control
"Provides a sense of ownership over one’s actions
"Expresses feelings of anger, frustration, helplessness and powerlessness
"Prevents unwanted social interaction
"May be associated with other comforting emotional experiences
"May be part of a personal ritual that provides comfort
"May be part of an obsession that is spiraling out of control"

Gina Folly at Ermes-Ermes

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Boxes, models, architectures, aquariums, terrariums. Can we put the exhibition together? Mathis Altmann, Maggie Lee, Tris Vonna-Michell, Tetsumi Kudo, Paul Thek, Mike Kelley, Ajay Kurian, Tobias Madison, Robert Graham, Max Hooper Schneider, Anicka YI, et al.

The box is a headspace, and cardboard is like a reconstituted tree flesh, and the diorama is like an architecture, ventilated to breath, did you know a lot of planning into a building's breathing, it's HVAC, like lungs, controlling moisture, and soggy cardboard is like a rotting flesh, we are repulsed by it, and looking into the flesh pool in the grotto is like the oracle, shimmering like the laptop screen, whose lid can be closed, locked and sent, it is transportable, and it is like a transportable headspace, and these objects are like primitive waypoints between many boxes, models, architectures, aquariums, terrariums we've been talking about.



See too: Mathis Altmann at Halle für Kunst Lüneburg, Tris Vonna-Michell at Jan Mot, Matthew Zivich at What Pipeline, “Sylvanian Families Biennial 2017” at XYZ collective, Maggie Lee at Real Fine Arts, Brian Griffiths at Vilma Gold,

Ida Applebroog at KARMA

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Liquidity for flesh, each of us a taut water balloon filled with blood, its hard not to see biomorphic anthropocentrically, and the drawing morph to relate their objects to our flesh, see postage think intestines.  Made while the artist was self-committed to an psychiatric institution its harder too not to see the drawings as waypoint thinking between the body and object constructed by a erroneous mind. How could the world not look psychedelic.


See too: Larry Poons at Michael Jon & Alan, Alice Tippit at Night Club, Nicolas Deshayes at Modern Art

Past: Pentti Monkkonen and Liz Craft

"Monkkonen's box-trucks literalize the metaphor: painting as commodity vessels in transit. What were rectangular become parallel grams sent for accelerating markets. The vessels are moving fast, the trucks skull cab and silver toothed grill portend their too-fast-too-young market crash. The flow of brand. Graffiti, produce, logos, brushstrokes, artistic identities all competing for recognition."

Click here to read full Pentti Monkkonen at Truth and Consequences Click here to read full Pentti Monkkonen at High Art
Click here to read full "Paris De Noche” at Night Gallery
Click here to read full Pentti Monkkonen at Jonathan Viner



"seance of meaning between two people joined. The nostalgia inherent in this, against communication's hyper-ecstasy and towards more primitive mode of communication still accepts the digital as a lot like witchcraft"

Click here to read full Liz Craft at Real Fine Arts
Click here to read full Liz Craft at Jenny’s

Jos De Gruyter and Harald Thys at Gavin Brown

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Painful, de Gruyter and Thys' developmentally delayed style, filled with speech impediments, slow progress, and language drifting into nonsense, is, like von Trier's early film, an idiocy against social decorum, our socially vulnerable conversations, socially conscious movies, replayed by the slow and impaired, mocking our banal conversations we've had, transmute conversation into madness. Comedy edges total breakdown of sense, turning to a horror that seems to endlessly please dG&T. This banal horror of too-much, of waste, of, in spite of such, cruelly, maniacally plain smiles.


See too: Jos de Gruyter and Harald Thys at Wattis, Jos De Gruyter and Harald Thys at MoMA PS1