Friday, May 7, 2021

Past: Jos De Gruyter and Harald Thys

"Against Venetian statuary, against marble gods with triforks, JdGHT's is wantonly provincial, the unsophisticate, the stupid it is: turns out, despite centuries of looking up at them, we don't actually resemble Greek Gods. "

"Painful, developmentally delayed style, filled with speech impediments, slow progress, and language drifting into nonsense, is, like von Trier's early film, an idiocy against social decorum, our socially vulnerable conversations, socially conscious films, replayed by the slow and impaired"

"They're funny, but they don't feel good to laugh at, no matter how stupid they are, they still reflect us. The doofus in film is guaranteed redemption by the contrivances of plot and will win out in the end. These characters get none."

Read full:
(Jos De Gruyter and Harald Thys)
Venice 2019, Belgium Jos de Gruyter & Harald Thys Mondo CaneJos de Gruyter and Harald Thys at Kunsthal AarhusJos De Gruyter and Harald Thys at Gavin BrownJos de Gruyter and Harald Thys at WattisJos De Gruyter and Harald Thys at MoMA PS1

Thursday, May 6, 2021

Past: Michael Krebber

"Krebber's "preferring not to" the herald of his artistic progeny, fantasizing that maybe they wouldn't have to either. And so artistry's lack became a claim of radical "protest," artist's claiming "strike" on the walls of the institutions that would have them, taking sumptuous bites of the hand that had become feed. Promising the academic artist a taste of social cool"

"In 2013 Krebberesque was actually academically defined in the 8th edition of Quinton and Rohling's Aesthetic Jargon falling between between Kowtow kraut and Kremlin Stoogism."

"The famous “digging into the mirror” photo's context reveal much less conceptually prescient images of Krebber for instance with a boot dangling from his ass."

Monique Mouton at Bridget Donahue


The fragments, clouds, poems on papyrus to be reassembled. "[Fragments] are wounded, ominous, their meaning is fractured, in ways that can't be put back together. We place these objects to our foreheads and ask for their secrets, contemplate their use, rotate them in our minds. [Their use is] to be pressed to ears, interminably silent, and hear the ocean in your head." Attempts to cage a cloud, the pleasured exhalation of your last cigarette, leave one wondering at the limits of repair. You can identify a world by its fingerprints, but you can't recreate it from. Think Lutz Bacher xeroxing the cosmos to noise that they were always planning on returning to already. The palimpsest that can't be regained. Bathrooms wiped of their graffiti would be a waste two millennia later but two millennia of graffiti isn't much better. Poor Smithson. Sand through fingers, the columns of society finding themselves into finer and finer granules.  For society was a fine dust, and a dust is what it will return. I say, stubbing out a cigarette.

See too: Nazgol Ansarinia at Raffaella Cortese

Tuesday, May 4, 2021

Past: Richard Rezac

"And today we are more than acclimated to objects and commodities adapted to us, so much so that any object blurrying suggestion for the function they provide produces an uncanny effect. We say they look otherworldly, alien, simply because we don't know what good they are to us..."

"...contaminating themselves in faint veils of cultural signifiers. These look purposed. Look like other things vaguely. As their power. "the elusive mechanisms of interpretation," They appear designed but without a purpose we can ascertain."
"The flux capacitor must only look like the expectations a public has for such an object." This, not time travel, was its power.

Click: Richard Rezac at Isabella BortolozziRichard Rezac at The Renaissance Society

Monday, May 3, 2021

Jef Geys at Air de Paris


Images-forms which are shown in a certain way, i.e. in a studied “correct” way, under “correct” guidance, embedded in a “correct” strategy, are readily accepted, as if they have existed all the time. Repetition, while creating habit, nearly at the same time leaves a taste of déjà vu. The end is an accepted boredom. Images-forms, no matter how strong they are, may appear perfectly normal, submitted, tame, having reached the saturation point. The images are experienced as something “retinal,” which is also the experience one is looking for: the significance underneath is kept at a distance. We are inclined to dispose of any images which cannot be used to finish our homework, as mere scenery for more important things that we supposedly have on our mind. To demonstrate this obvious wearing out of images, I started looking for basic forms with a very simple structure but a heavily loaded content. 

If Geys' work is confusing, ever shifting, it is because it voids itself of the general markers that usually demarcate its sense/use/meaning.  Geys' don'tt necessarily ordain a use, something "used to finish our homework" but instead images which flight in and out of an ability to read them for information. A language we are not necessarily tasked with translating but ascertaining whether meaning at all. 

See too: Guy de Cointet at Museum Leuven

Sunday, May 2, 2021

Lewis Hammond at Casa Masaccio


Dark in amber, scenes held in brown glass. A "wine dark sea," a Homerian world devoid of azure. It seems less like we are seeing scenes than seeing them reflected in another substance, using a mirror to inspect the bathroom, a reflection to infer the world around you. An aberration in the glass or in you.