Friday, June 18, 2021

Past: Jon Pylypchuk at Petzel

 ... a more formal torture of our facial tendencies, is now a wanton mass, a poopy stuff. Pylypchuk had stretched pareidolia to absurdity; you can disfigure a face into extreme proportions and still see human. ... Proportions were used with a comic's timing. The endless use of little arms, doofy mouths, and hyperbolized eyes like a child aroused to Saturday morning TV. Affective little terrors. Infantile features triggering nurture responses in adults. ...

Full: Jon Pylypchuk at Petzel


Thursday, June 17, 2021

Past: Kayode Ojo at Praz-Delavallade

...perfume advertisement sedimented as sculpture. Awaiting moistened Drake to pour and offer, not just a drink but a life. ... The smallest narrative allows the biggest projection. We like chintz, and better any excuse to play it as ironic, look down upon it. How much artworld glitz comes with heavy justification, armor against actually liking it. Excused glamor are why artists were invented. ...

Past: Kayode Ojo at Praz-Delavallade

Wednesday, June 16, 2021

Past: Emanuel Rossetti at Karma International

... an entertaining moment of alterity, bizarro-real, in which in moral hopes we must realign ourselves to its products, our experience of it, recognition delayed, and the static charge of our disorientation in finding an identification to hold onto, objects which connote but don't mean...

Past: Emanuel Rossetti at Karma International


Tuesday, June 15, 2021

Analia Saban at Tanya Bonakdar

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Not even a metaphor, a literalization? Weaving subject matter into canvas. When de Rooij did wove value, it seemed about its dumbness, and when Arcangel printed it, it definitely was. When Baldessari accumulated his own credentials on a painting, that too seemed just incredibly dumb. Laughable. Funny. That's not to say that is what these are, or have "been done before." No the point is that these are different. These seem serious. Process-based abstraction, the fallout of conceptual art, the technology for myth, woven into object.

see too: Analia Saban at Sprüth Magers

Past: Analia Saban at Sprüth Magers

Making things look like other things with other more culturally cached things all put in the frame of the biggest cache of all, that frame, art. Ostensibly this is meaningful, reweaving signs and myths into themselves, but it feels like doing imaginary math, a premise to simply get us to argue about the answer, which makes the formula appear interesting.

Past: Analia Saban at Sprüth Magers

Monday, June 14, 2021

Past: Lu Yang at M Woods

"so steeped so heavily in camp as to be quite soggy on such rigid concepts - whether this is a critique of culture or fantasy for it doesn't matter anymore, trying to out-absurd culture is impossible but look how far it's gotten us, Genzken too"

Past: Lu Yang at M Woods


Sunday, June 13, 2021

Something About Us at Fons Welters, Amsterdam



A show of fragile candy, soft and hard shell, capturing its affect in an art lozenge. Swallowable. Affect has always been important to art, machismo sizing of the expressionists, the bureaucratic cool of conceptualism. Affect connoted the reverence you should have for the church objects. Which ostensibly released meaning. But now affect is itself the captured thing, the feeling, packaged. 

Saturday, June 12, 2021

Past:  Patricia L. Boyd at Christian Andersen & Front Desk Apparatus

"But what does this system produce? Nothing except an image of itself. The artist refers to the work as an “exhaustion engine.” It simultaneously represents and realizes the use and expenditure of her artistic resources: a commission fee and a studio at the NASA-grade production facilities" -Annie Godfrey Larmon Artforum
Someone once said that Sports were simply an advanced random number generator for creating stories. Sometimes art seems a similarly tangential means for the same.


Peter Hujar Backstage Maureen Paley, London

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Hujar is obviously in the majors. But the photos now enter this procession of art's holy spirit, aggrandizement of its moment, its beautification. This is how photography steals souls.  Turned into little jewels. 

See too: Moyra Davey, Peter Hujar at Galerie Buchholz

 Past: Moyra Davey, Peter Hujar at Galerie Buchholz

And art often feels like a process, technology, for imprinting nostalgia. Casting banality in bronze, silver, with a halo of rose. "Nostalgia a toxic substance used to preserve our memories in formaldehyde's rose tinted veil." Photography provides "immediate packaging: that inherently elegiac medium also promises preservation of someone's sight of you." So you get to preserve your recognition like pickled pigs and call it romantic. Nostalgia's artistry becomes its own technology. 

 Full: Moyra Davey, Peter Hujar at Galerie Buchholz

Thursday, June 10, 2021

A Maior at Kunsthalle Freeport, Porto


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Our best guess, that Yu Yuan is the mother/"mistress"/owner or maybe just matriarch(?) of A Maior, the Portugal based general store* with an ostensible curatorial program, (and curating the Kunsthalle Freeport, Porto.) We're probably wrong, and probably the point is a bit of confusion, which is occasionally fun. Whoever she is she seems important. The world has championed less with more. At least some of our "mistresses" deserve billboards. It's fun to burn space to our flowers.

*Open Mondays to Saturdays, from 9:30 to 19:00. Sundays and Holidays, from 10:00 to 19:00. Selling mostly everything for your home, except food.

See too: Marte Eknæs at A MAIOR

Wednesday, June 9, 2021

Devin Troy Strother Smoking And Painting Broadway Gallery, New York

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"My mother loves Christmas, and she collects all sorts of Christmas-themed ceramics to decorate her home. ... There were almost never any black Santas. So, my mother took matters into her own hands. She would buy up white Santas, angels, and carolers and turn them black using a jar of enamel paint. I’ve always thought about how this was my first brush with painting, and how it has had a major impact on my thinking and art practice."

This does seem like an apt metaphor/parable(?). These paintings, they've got the color of Christmas, but with the white parts painted black. 

Tuesday, June 8, 2021

Past: Benjamin Echeverria at Parapet Real Humans

"You apply a video filter, you belabor the painting. Both become search for means to make 'residue' appear, of time, of warmth we're after. A weathering effect you can turn on and off like rain."

Full: Benjamin Echeverria at Parapet Real Humans

Monday, June 7, 2021

Matthew Lutz-Kinoy at Salon Berlin, Berlin

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Someone once called this "bath house abstraction" - a decor for lounge couches, and Lutz-Kinoy's do often appear as the background to activities that accredit them.

Sunday, June 6, 2021

Past: Nancy Lupo

"Like eye goo, stuff's service is its waste, a continual sloughing, so we can remain fresh, clean. Stuff accumulates, piles, is shed. Stuff is quasi things, is transient, transactional. A disposable fork is, like, quintessential stuff.."

"Stuf becomes subject. Curdles a skin, a flake to slough. Contaminates, spreads. "Disposable." "Flushable." Problems in city pipes, amassing with congealed human grease to create clogs from hell. "Behold The Fatberg: London's 130-Ton, 'Rock-Solid' Sewer Blockage" A world unable to contain our disposability. Reamasses elsewhere.."


Read full: Nancy Lupo at SydneyNancy Lupo at Kristina KiteNancy Lupo at Swiss InstituteNancy Lupo at 1857Nancy Lupo at Antenna Space

Eleanor Ray Nicelle Beauchene, New York


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Painting some lost air in the "middle distance" - air infected with some ghost. A Tuymans' photograph falls toward unfocus, like lenses shifted, or just before you faint. A world though some kind of frost. The old wavy glass of Morandi's subjectivity but mictrotized, etched, woozy. Afflicted with heatstroke? A heat shimmer. Even the cold landscapes have humid hot air. The edges are liquid hard, but their interior a gooey center. And melting. Corot's plein air as locked up as a Maureen Gallace summer, seen through Morandi's glass and receding.

Thursday, June 3, 2021

Past: Tom Allen

Flowers are the lighted landing strips of insect air travel. The Vegas sign advertising sex and nectar to bees, birds. What did Zizek say about tulips, "an open invitation to 'Come and screw me.'"... this crass evolutionary productivity might be why flowers are called "the lowest of the genres," gaming the system with hardwired desire. However what artist has ever been above cheating? Flowers are an experimental-constant through which an artist may perform tortures on a cultural concept of beauty...

"...more Berghain than cottagecore - to paraphrase the press release. The pleasure here seems in twisting the dial to the humming point between saccharine pleasure and spoiled overripeness - between day and night - a painting your mother "likes" with uncertainty... pleasure in this sweet spot hum.

Tastes change however, but let these be a marker of 2020s - that this was the edge, the waver between sickness and wealth. Painting as stakes planted, this was the limit. So if you start to love these, see how far we've moved."

Past; Jamian Juliano-Villani

"Like Ernst's graphic novels cut up from the cheap illustrations of culture, surrealism and pop go in hand, the abject impoverishment of images today begets a mash-culture on amphetamines, channeling, thieving, and mixing everything and more regardless of flavor. Ingredients in the style John Wesley placed into Albert Oehlen's 3D render blender on Rosenquist's chop setting all in the backyard BBQ of Hannah Hoch. The point today is to accelerate the katamari like sludge while maintaining, like Ernst, a semblance of representational order, to make the regurgitation uncanny, seem, somehow, true..."


Full: Jamian Juliano-Villani at Tanya Leighton

Isabel Nuño de Buen at Lulu

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Assemblage by the sea. Crusted, coralized. Colors approaching, but never quite, seafoam. More a bleached shellfish reference. Sort kelp-y. My Octopus Teacher or Kevin Costner in Waterwold-core? This is the ambiguity in question. Or, maybe more associated with the crustables: Miho Dohi, Daniel Rios Rodriguez, Lin May Saeed. ... wait, is this Lulu-core?

Wednesday, June 2, 2021

Past: Josephine Pryde

"...People didn’t enjoy Lichtenstein they enjoyed comics, and within its soothing fantasy. Pryde uses Pop's function, the saccharine of instant recognition ... whose comfort allow defenses dropped and desire for disposable sweets, a populist bent to criticality ... a shutterstock imaging of normalized categories....  Pryde delivers within the pre-existent of Trojan genres..."

"Genre being the capsule that allows immediate swallowing: "They're about touch." What Isabelle Graw called "straightforwardly thematic." And so we understand them like a trojan horse, internalize with ease. Ostensibly later spring forths the latent soldiers, medicine. But it might be the gulping was the trick. Getting you to immediately get them. The cuteness of gerbils, the joke of consumption."

Tuesday, June 1, 2021

Philipp Timischl at LAYR Coburgbastei, Vienna

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Blinky light art, the rearranged parts of the cultural casino, cut from and placed into its altars, deranged artifacts. The PR says as much: "ratifies a pop modernism celebrating the a priori unnatural marriage between the culture of entertainment and that, sacerdotal, of modernism. Our Clement Greenberg in TMZ sauce, restages the epic formalist quest for flatness, infused with pop calibrated for iPhones."
The culturally accredited mall.

Past: Philipp Timischl at Neue Alte Brücke

"Timishcl's sculpturification of photography is on one hand full of cheeky little moments of puncture - the objectification, fetish, and bejeweling of hyper-beefed men who unwittingly take part - as well as the need to sediment the more transitory elements of photo and video in an object original.  ... About the level of risk involved and who bears it in what situations. ... our carefree objectification."

full: Philipp Timischl at Neue Alte Brücke