Hilary Pecis at Halsey McKay

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Gingham filters for our paintings. Nostalgia you can adjust on a slider. The equivalent of jeans that come pre-torn, factory fresh history. Surely our craving for this nostalgia's cake, a symptom of insecure times. The obvious reference to Wood's would fail to account for this theme'd overlay, and closer thematics perhaps in Davey's search in means of prewashing our tech with its past.


See too: Moyra Davey at Institute of Contemporary Art, Jonas Wood at David Kordansky, Steve Bishop at Kunstverein Braunschweig, Wolfgang Tillmans at Galerie Buchholz

Alan Charlton at Galerie Tschudi

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"He didn’t want to build a myth around himself, strive for a socially respected position or create paintings that would reveal hidden truths or promise transcendence. Charlton therefore became an artist who – with modesty, but also with unwavering commitment – does everything himself: from the stretcher frame to mounting the canvas to the careful application of colour, from packing up the paintings, tidying and cleaning the studio to organizing shipment. ""Throughout, the paintings are grounded, unpretentious, honest, and straightforwardly present."
But then: This [Charlton's] unshakable concentration, the perfectly skilled handling, the authenticity and care lavished on each individual step..."

The quaker or protestant ethic, with its reverence, particularly without those ethics end result of a function, becomes its form of myth, building church without furniture.
See too: “Seven Reeds” at Overduin & Co. Daniel Buren at Bortolami, Heimo Zobernig, Dena Yago at Sandy Brown, 

Past:Yuki Kimura

"A slipperiness to Kimura's, objects or photos whose concreteness or hopes for singularity or individuality has a tendency to bleed. Glass which we don't really see but for its reflection, or flaws, it only warbles a world surrounding it, refracts what we put through it. Photos of brandy glasses usually are shot in the white cloud of virtuality to reduce the room, whereas these are built to hold it."

"positing perhaps that the double is less as a conceptual predicament than a material one: pieces of clean metal in a vacuum will auto-weld together, atomically unable to differentiate their objecthood and so confused become one. Mathematical quandries of whether or not "2" exists, or "1" for that matter"

Yuki Kimura at Jenny’s, Yuki Kimura at Wattis

Past: Nora Turato

"A satisfying gesture: language, propelled with advertorial oomph, instead deadpans with its empty cymbal crash; understand the words but, devoid of context feel a little haunted, disembodied, ghosts of something far. ... The garbage of the 'infosphere.' In an era when everyone spends their time off creating protest signs against politicians having clipped the sound bite down to two word phrases, the fun of creating your own haunting version, headlines like haikus, is fun. Cut the ends off a sentence and be left with a poem."


read full: Hanne Lippard, Nora Turato at Metro Pictures, Nora Turato at Kunstmuseum Liechtenstein

Ivy Haldeman at Capsule Shanghai

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To summate, the casing is the suits, which is the comic line, which is the erotic sheen, which is the women.


see too: Ivy Haldeman at Downs & Ross

“Fried Patterns” at Brussels Gallery Weekend

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Sure it looks like your usual undergraduate thesis show, but that's not what matters in situations like these. Attention is not valorized in the visible, in situations like these.

Past: Ivy Haldeman at Downs & Ross

"Oldenburg innuendo slicked to the surface, in the stroke of the brush we could call lascivious. The same strokes that delineated super hero breasts comicly. In latex suits forming questions other comic artists posed as, "Is Amazon Girl's super power the ability to squeeze that figure into that suit?" Squeeze that meat into that casing. Is the [casing] the product, or a surface of sex that sells?"


Ivy Haldeman at Downs & Ross