Sunday, March 10, 2019

Brandon Ndife, Diane Severin Nguyen at Bureau


New forms of repulsion aren't necessarily "fun" but find interest in this evolving newness, this "becomingness" that forms the abject. Filth is only gross when we fear its spread, contamination. And we have become lovers of filth. It could feel a signifier of our political moment but it started before that. The early 2010s, 2013, Agematsu, E. Smith, Douard, Lupo, Hooper Schneider, and Thek, Tetsumi resurgence et al. It could instead be that rise of CAD and crystalline documentation - the even-white fluorescence provided the clinic - could hold filth at a distance, anti-sceptic photography for petri-dish transmission. Everything looks good in the white light of pornography, even that filth. Like we finally had the clean rooms to handle it, not just white boxes, but had invented technological gloves to package all of it:

Filth: Martin Soto Climent at Michael Benevento & Yuji Agematsu at The Power StationMay the Bridges I Burn Light the Way” at STANDARD (OSLO)Dylan Spaysky at Clifton BeneventoMax Hooper Schneider at High ArtAjay Kurian at White Flag ProjectsKahlil Robert Irving at Callicoon Fine ArtsAjay Kurian at Rowhouse Project,  Jason Dodge at Franco NoeroAmy Yao at Various Small FiresAnicka Yi at Cleveland Museum of ArtChadwick Rantanen at Essex StreetMichael E. Smith at Sculpture CenterMichael E. Smith at Michael BeneventoMichael E. Smith at ZeroMichael E. Smith at LuluMichael E. Smith at Susanne HilberryAmy Yao at Various Small FiresAnicka Yi at Cleveland Museum of ArtNancy Lupo at Kristina Kite & Yuji Agematsu at Miguel AbreuNancy Lupo at Swiss InstituteNancy Lupo at 1857Yuji Agematsu at Real Fine Arts,  Yuji Agematsu at ArtspeakHenrik Olesen at CabinetJason Dodge at Casey Kaplan“Ungestalt” at Kunsthalle Basel