Monday, April 29, 2019

Eva Fàbregas at Kunstverein München

Today's post is an assemble your own intenstinal adventure.
Current common themes.
Images of Intestines: 

Bodily Innuendo 1 
(haha funny sculpture mock human):
'Painters do violence to faces, but sculptors love mockery the body, its forms, bulbous. Tragedies we have been given, our corpulent throes. And comedic our attempts at preserving that, our treatments to spas, acupunctures, health tonics, facial plumbing, giving facelifts to the homeless.'
Erwin Wurm at Kunstmuseum Wolfsburg, Geumhyung Jeong at KLEMM’S, Sarah Lucas at CFA Berlin, Roger Hiorns at Faena Arts Center, Venice: Anne Imhof at German Pavilion, Gina Beavers at Michael Benevento,

Bodily Innuendo 2 
(uncanny lumpen)
'...biomorphic stones complicating the minimalist mantra that "what you see is what you see" because what you see is sometimes sexually confusing, leather seats looking like the lap of a taught, tan and naked man. The cigar that just might, or rocks that just might not, it is a “bodily” different from its post-minimalist reassertion: entendre produces uncertainty in polite company...'
Bodily Innuendo 3 
(objects which denote us)
'...Darwin, living in the 1800s, could see a flower and draw a moth undiscovered until after his death. The objects here, designed for ourselves, in a similar way infer something about the bodies which they govern...'
Park McArthur at Chisenhale, Klara Lidén, Alicia Frankovich at Kurator, Anna Uddenberg at Kraupa-Tuskany Zeidler, Katja Novitskova at Kunsthalle Lissabon, Alexandra Bircken at Le Crédac & BQCady Noland, Eloise Hawser at Somerset House

Visual Material Fetishism (pornography and the need for materials to express itself through glass):
ours is a world we see but don't touch, like in an art museum. And like porn, we want to touch, want to experience sensuality, and so separated by this glass both art and porn must find ways to make physical sensation a visual code passable through glass. Pornography does this by covering the body in oil, wrapping it in latex, inflating its breasts to absurdity. Art does this with goo and viscera and softness and lumps. Hypernormal stimuli.
Olga Balema at High Art (1), Olga Balema at High Art (2), ektor garcia at Cooper ColeN. Dash at Casey KaplanTony Conrad's GlassAnna Uddenberg at Kraupa-Tuskany Zeidler,

Medical Device Horror (blushing)
'...if the trope of horror-films was to die after sex, it was because the carnality established the body as fragile, human, meat; sex filled the character with blood for the destruction to come...'
'The biomorphic ambiguity invokes the body better than any specific image, the ambiguous evokes feelings which we relate to corporeality rather a concrete image we would relate to as information. It's why what is unseen has such stronger potential in torture scenes, ears cropped or arms chainsawed...'
Nairy Baghramian at Marian Goodman, Michaël Borremans at Dallas Museum of Art, Ambera Wellmann at Lulu, Miriam Cahn at Meyer Riegger, Andro Wekua at Sprüth Magers

"The rotund, biomorphic. The anthropomorphic, anthropoid, and the dripping and the glistening. The meaty and the squishy, fungal. Glass etched with goo, sprayed. Wax deformed Rodins. Primordial, high definition flesh. The dirt. Psoriasic pulchritude. Your standard innuendo; vaginal negatives. The soft and photo sensitive. The band-aid awaiting its knee. Someone farts. The misshapen; hideously deformed. The institutionally nurse-like and the gore spread across asphalt. The putrescent, the rotting inside taught PVC. The colonoscopic. Our bodies inferred, touched, spread with creams oils and ointments. The sick. It was a lie to believe in machined aluminum autonomy, bodies and minds everywhere guttered. Every sculpture today inferring the body."