Past: Autumn Ramsey

"... the 4th cat butthole - this one with lips of thighs to attend a sort of mollusk rear. ... the butt is the nexus where the world goes abstract, the fur whorls, the thing, like a Klein bottle, turns in on itself, disappears. Self empties. Self decorates its hole hallucination. Like all the roses. 

"decorative embellishments adorning the subject like Christmas tree, a structure for the hanging of means, that while Moreau's wreaths of ornamental doodadery shimmer with objects and riches... an object that has more or less lost its meaning to act the tradition itself, history painting glitz."

"lovely and sensuous cat butt"

".. the decorative itself becomes an object. It's not the shimmer to a space, but the sculpted out affect. You're not looking at a lion, you're looking at a hallucination..."

Read full: Autumn Ramsey at Crèvecoeur, Autumn Ramsey at Park View, Autumn Ramsey at Night Club

 Past: Pamela Rosenkranz

[Rosenkranz's] substances are often fictional, and Anemine appears an artistic bruhaha in a long line of "doctors" with liminal connections to good medicine ...  So long as promotion outspeeds due diligence the product will remain valid. And they are fun to say: NeuroSafe, Anthroplex, Brain Safe, Myco-ZX, TB12, Super Male Vitality, medical leeches, ... 

"gives consumers a sensation of security: the less they understand the terms used to describe the product, the more reliable it seems, because it's at the cutting edge of technology." ... everything there for a real good narrative.

As ostensible critique of pharmaceutical, technological and advertorial strategies, Rosenkranz instead deploys them to great affect in art, using their strategies in consolidating attention and maintaining lure over the viewer.

Pamela Rosenkranz at Karma International(2), Pamela Rosenkranz at Karma International(1)

Omari Douglin, Lukas Quietzsch at Ramiken

(link)

Position the abstractions with cartoons, to prove they have content. That the cartoon contents has an abstract value. Painting is a patchwork quilts. A color you sew to its vessel. A sponge absorbs what's near, a painting is its circumstance. How it is positioned, hung, curated. "the canvas becomes a better receptacle." It just takes it. Abstraction are cartoons, our cartoons are abstractions. etc. 

 Past: SoiL Thornton

"Thornton seemed to have the insight that there are more interesting things than "painting," and that these things are (or can be assimilated with) painting, that painting is not the historical given. There is no "natural" painting but merely an inherited set of tropes... Rules to a game you didn't even realize existed. ... where almonds or pennies might be an equal painting axiom as Greenbergian "flatness".  Inflate a mattress, call it painting, it's not revolutionary except for the fact that no one else is on the same gameboard. 

A "befuddlement of the terms and conditions of paintings... obtuse, tangential starts digressing from those painting histories generally acceptable as beginnings.

a balletic comedy of evasion.."

"It's like the world but also not the world at all. "

Full: SoiL Thornton at Kunstverein Bielefeld, SoiL Thornton at Moran Bondaroff, SoiL Thornton at Essex Street

Caitlin Keogh at Overduin & Co.

(link)

What can a tornado mean? How does it speak, catapulting whole neighborhoods into the air. A house blown up, again. How many times can you explode the house, the archive, mailbox, fenceposts, Greg, displayed, waving though the air, help. They continue beyond the frame! What can a Tornado mean by this? This is the fallout of Rachel Harrison semiotic explosion. The settling dust of nonsense. This is meaning aloft, in midair, the detritus of whatever art recently smart bombed. The airline wreckage cataloging its hangar. The little stick and poke tattoos glistening on your body. This face of Post Malone. A pox, outward flush of signs. He's got a case of the semiotics. He's got a pox of the interpretability. The illustration is clear.. but the meaning, whoa, wait till you get a load of the meaning. It's everywhere. The point is to make it look like a Clue board, to make the game is meaning. The loser is the first person to say "pipe."

Past: Kaspar Müller

"Not knowing is unacceptable, but outright rejection would prove viewer's impotence, thus created an environment where artists are able to produce further and further extremes of blankness, vacuums filled by refusals to not-know, whose sensory deprivation creates phantasms..."

"You cannot kill content if you tried because art is baggage..."


See full: Kaspar Müller at Société. Kaspar Müller at Société, Kaspar Müller at Federico Vavassori, Kaspar Müller at Museum im Bellpark,

Gina Folly at Centre d'édition contemporaine

(link)

The box's abundant metaphor, the gift, vessel, the transfer, a waste, a stuf, that nests a possibility. The box is capital's egg. Delivery, birth, of sexually selected commodity. The humble cardboard box makes our Amazonian wishes possible, you can conjure Christmas from a phone, it arrives in box. What is painting but a box? Its material is useless in comparison its higher order of content, to the gift of painting. A body that dies, but whose spirit remains. (See too: Sarah Rapson at Modern Art) An excess of cardboard population, no recycling center can handle. A dystopic grin printed on every one. Which becomes here's sentiments printed like a seance to the ghost, the ether, the big thing undelivered.