Past: Marie Angeletti

"exacerbating all the annoyances of images today, Angeletti's are always claustrophobically opaque, too close, dim. Not quite sure Angeletti has ever shown in a completely lit space..."

"which, in an era of almost total fuck-all of images our cognition is molested by daily, could make an art practice mirroring such seem a brutal finger but at some point we have to be trained for this, we could attempt to make sense of, it all, if we wanted to start lifting."


see too: Marie Angeletti at Atlantis, Marie Angeletti at Beach Office

Alvin Baltrop at Hannah Hoffman

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These photos are lovely now as Baltrop receives his late laurels. It wasn't laureled then. A suffering that is made into "authenticity." Pain as sales value added. The valorization process of art. "hardship reclaimed like wood by collectors of such." Dominant culture lays the concrete of its social conditions, proclaims "look a dandelion has grown," hangs its photo in our halls as testament to humanity. But it can seem like a testament to the concrete. A mythos of suffering starts to feel like instructions for it.

See too: Alvin Baltrop at Daniel Buchholz, Purvis Young at James Fuentes

Past: Alvin Baltrop at Daniel Buchholz

"His situation's precarity is expressed on the surface of the photographs themselves, in its tentativeness, his body's extreme vulnerability. These people were killed, ostracized, displaced to the corners, to escape the purview of a society disavowing them. You see it in the photo's trembling hand."


Read full: Alvin Baltrop at Daniel Buchholz

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, see the abyss looking back because we are doing the projecting."

"You cannot kill content if you tried because art is baggage, preloaded with a cultural et al. So make it look good on a wall, even toilet paper."


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

Isa Genzken at Galerie Buchholz

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This exhibitions just smells of car showroom, huh. The point surely - the ellipsoids look like cars, liquid in time. 

Benjamin Buchloh criticized my ellipsoids for having too much content. He said to me, "You haven’t even understood Carl Andre yet." I said, "Of course I understand him. But I can hardly try to outdo Carl Andre." Of course, it was exactly this "content" that I wanted to bring back into the ellipsoids so that people would say, "It looks like a spear," or a toothpick, or a boat. This associative aspect was there from the very beginning and was also intentional, but from the viewpoint of Minimal art it was absolutely out of the question and simply not modern. 

See too: Isa Genzken

Mernet Larsen at James Cohan

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Low poly people, decidedly clear, in disorientating perspectives. The perspective always rigidly inscribed and then denied, aloft. That nauseous feeling is intentional. A painting that elicits seasick. We consider this modern.

Past: Isa Genzken

"To make one of those statements that art writers have tendency to make based upon an inflated assessment of their own opinion's import... Bruce Nauman has passed the torch of most influential living artist to Isa Genzken. It happened in field about 4 years prior as part of a much unpublicized ceremony 28 miles due south of Santa Fe. Without fanfare, neither artist even leaving their respective vehicle, handed through lowered windows, Nauman reported to have said "Best of it." The two made eye contact and somewhere off a small goose was made to fly along with several terse press releases from the agency that assess such matters. It was said that Genzken's speed finally attained escape velocity from the crushing gravitation of Nauman's iron mire."

"Genzken founded strategies rather than objects, an artistic down-shifting, a speed that could overtake. "the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects" i.e. When we see Genzken we react to the deployment or manipulation/alteration to its strategy, the means of attending the object rather than object itself. Weirdly deny the consumptive act of looking by permanently existing in a state of limbo.."

Past: Isa Genzken at David Zwirner, Isa Genzken at Institute of Contemporary Art, Isa Genzken at Hauser Wirth & Schimmel + Daniel Buchholz