Tuesday, March 28, 2023

Martine Bedin at Crèvecoeur


Art is a ludicrous object, a Rube Goldberg device for some strange cultural malignancy. But art's basic forms mask the inanity. Painting is a format that seems to tautologically explain itself, it's a painting, it's meant for walls. In this way artwork falsely naturalizes. Bedin's objects evolve structures that prevent naturalization, like peacock tails they are partly too stupid for this world, but somehow biologically necessary. Design which refuses to be necessary, importantly. 

 Past: Lewis Hammond at Casa Masaccio

"Dark in amber, scenes held in brown glass. A "wine dark sea," a Homerian world devoid of azure. ... scenes reflected in another substance, using a mirror to inspect the bathroom, ... An aberration in the glass or in you."

 Past: Lewis Hammond at Casa Masaccio

Monday, March 27, 2023

Merlin James at Chris Sharp Gallery


James makes paintings that are difficult without resort to "bad painting." A distinction interesting since, for all "bad painting"'s ostensible antagonism to rational orders and anti-appeal, has become immensely commodified - the idiot savant nappies now become blue chip trading cards. Somehow the adults love trading diapers. Bad painting not so bad. The point: James's rejection is more obtuse, slow to reach the demands of consumable painting. Like Hans Hoffman, an intellect doomed to make terrible paintings. Or Joseph Albers always being terrible at color. James forever caroms off anything digestible. Elderstatesman to the Richard Aldriches working tangentially to canon's rutted path, instead an outer mud searched through, never really wiped clean. 

See too: Richard Aldrich


... James shows how weird painting can actually be. So far outside current tastes that not even sure we like them, ugly as hell ... These are like painting trying to turn itself into a car. Even the dumbly painted ones, paintings trying to pretend they're a cat...

Read Full: Merlin James at Kerlin Gallery

Friday, March 24, 2023

Bernhard Schobinger at Martina Simeti


At a time when so many artists are working to backfill their materials with "content" the press release elucidates as ingredient lists, it's become an unironic Pearoefoam so prevalent. So it's a point to note Preciousness is arbitrary. Diamonds, the internet will tell you, are artificially rare, demand conjured by corporations excellent marketing. Which, is all preciousness artificial? Conjured through the technique of aura production? Everything is Pearoefoam? Are artists the industrialization of aura? Anyway its a point made clear here, jewels made from the mine of arbitrary standards, as good as any other here, better even, these jewels were invented. 

Thursday, March 23, 2023

Gretchen Bender at Sprüth Magers


The simple Brechtian device, knot tied around finger, reminder distance. In comparison, how overwrought today's hi-budget televisual orgies. An interesting observation from the PR even, "Layering text over moving image is as familiar now in memes, tweets and social media posts," - that these are memes, constantly updating, live, cycling between nonsense and prescient. An analog HUD. "Items that are overdetermined to point of banality, yet the obviousness of the operation does not lessen it." Now you get to watch TV with some ostensible criticality, two TVs at once, what could be better. 

See too: Julia ScherGretchen Bender at Wilkinson


"... the almost imperceptibly slight shift required to bend our cultural images as though Empire's propaganda... Bender did, famously, design the credits for America's Most Wanted, the most explicitly authoritarian expression of US entertainment, in which the ostensible good skip judge and jury for the exciting mercenary chase of the manhunt from the comfort of your home, call 1-800-CRIMETV, themselves the long arm of the law.."

Read full: Gretchen Bender at Wilkinson

Wednesday, March 22, 2023

Genpei Akasegawa at SCAI PIRAMIDE


Like freebasing Wolfgang Tillmans - the raw particles of a life, its detritus of attention, this is the good stuff, artless, hidden in drawers, in nana's closet. Pay attention to someone else's attention. We of the upturned noses, hoovering up another's stash, vacuums all the way down, or human centipedes of another's output. 

Past: Anna-Sophie Berger at JTT

"Berger's exhibitions look like group shows, filled to the brim with objects inconsistent. If outward appearance needs consistency to "make sense," if fashion is meant as an expression of its subject, the wearer, we could draw a line from Berger's fashion discourses earlier to now: a breakdown in objects ability to communicate its subject, artist or wearer...."

read full: Anna-Sophie Berger at JTT

Tuesday, March 21, 2023

Past: Kerstin BrätschKAYA

"The point is, the production is product. The machine you create to create. No one knows why Pollock dripped anymore, that knowledge is lost. What is important is that he created a machine that dripped. This replaces meaning. The machine does. "

"Genzken [is] the most influential living artist not because everything looks like it, but because [she] predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects. And whereas others used this to produce "series," Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, amassing product and centering production as the point. That the production of itself became the product."
Adam Kleinman in TZK: "as many artists have learned to feed this desire with work made quickly, but with enough conceptual acrobatics to make them acceptable as part of a canon of their own oeuvre—or that of a supposed canon on the critique of modernity. And here, the artist has found a way not only to maximize the circulation of his/her work, but also to reduce the budget in terms of both time and materials—the original shady business of “skimming”, although one that is justifiable considering the low rate of artist fee’s. Within this particular loop, a potential critique of excess is ensnared as another symptom of that very excess. And it is with this dual farce of today’s production and related branding activities, namely the desire for the curator to collect and justify an artistic industry of prefab and ready-at-hand esoterics, that one should enjoy DAS INSTITUT’s irreverent something for everybody with a little for everyone approach."

"WHO says by 2020 depression will be the second most prevalent medical condition in the world. Rats pleasure themselves to death. ...use of beauty as a deployable assaultive thing, prolific- likely what critics refers to as the artist's "advertising strategies" - exhausting..."

Click here Kerstin Brätsch at Gio MarconiDAS INSTITÜT at Serpentine GalleryKAYA at Deborah Schamoni Kerstin Brätsch at Gavin BrownKerstin Brätsch at Gladstone 64

Tunji Adeniyi-Jones at Morán Morán


There is no narrative anymore. There is only soup, a Matisse boiled alive, a figured consumed, a PR acting as an ingredient label: "arts and crafts" "Yoruban" "Mexican Mural" flavoring. A more refined soup compared to the squalor punk of, say, Max Brand's squat house gruel. Soups are everywhere today. "Soup is easy to mass produce: a base prepared in advance can be used to a support a wide and readily available ingredients on its surface." The point being soups are brought to taste, you might even like yours.

See too: Max Brand

Monday, March 20, 2023

Georgia Sagri at Ulrik, New York


You must sediment your practice. Into tangibles. Painting becomes the catch all. How Trisha Brown also bottled dance by touching painting. Painting just takes it. Plays nice, supports its role as artworld coin. Placing everything on painting reinforces the myth, having the magical property of containing it.

Saturday, March 18, 2023

Group Show at Galerie Clages


A sort of encapsulation of current art. Cargo cult totems that we perform our art rituals upon. It might as well be magic what today's press releases claim. Incant. And wryly Werner's contraptions are the Rube Goldberg machines of art function, like Rachel Harrison and Jason Rhodes finally shaking hands - the factory, meaning disassembles and reassembles, semantically fractured, as content/aura. Art's ostensible value. The sign is material, the art is the machine for compositionizing them, meaning's byzantine Mouse Trap. 

See too: Antligature Rooms p.43, Cargo Cult

Friday, March 17, 2023

Bispo do Rosario at Americas Society


At one point we force fed things like Krebber, all the hot white stars of the western hegemony, spammed in feeds, again and again. For we were the Colognies. For years. This was the digital process of artworld reproduction, spread across seas, maps spread like all the dark slide rooms of schools, of catalogs, of the cannon reproducing itself in wet eyed young forced to look up to it. Which we're taking account for now, decolognizing your bookshelf, contemporary art library et al. An artworld ostensibly returning care to those previously left at the fringes. One wonders how many of these will return? How many will be cared for? Each day we receive a new banner heralding the new forgotten. As a matter of inclusivity. Rightly so. How many will be taken down from the banner and be given hospitality. How many will return? Will we see Bispo again? Can the ark of culture bring more than two in this deluge, all existing artists on Earth. Questions everyone kept asking.

Gina Proenza at Kunst Halle Sankt Gallen


European Kunsthalles have budgets with press releases bearing the weight of the world. In NYC gallery will have no press release and be a show of dirty dishes. A Kunsthalle serves a slightly different purpose, but the trope extends throughout. 

Wednesday, March 15, 2023

Na Mira at Park View/Paul Soto


Mirrors which allow color to spill, bleed. Into the political dimension - a place artworld can see but can't access. Just hope our artwork somehow runs into it. 

Tuesday, March 14, 2023

Past: Darren Bader

"that if we're going to take seriously the idea of dead fire bricks arranged gravenly on floors .. then too so we must accept with it its ideological twin, shrimp tossed in a foosball table or muffins arranged. To argue the importance of bricks/floor vs shrimp/game is to already enter into Bader's standoff, and lose to the man brilliantly willing to lose everything to win."

"the reason a lot of artists hate Bader, besides the general impishness, is the refusal to perform any sort of critical consolidation of his practice, that moral underpinning of art, "criticality." Instead, a near incessant expansion at the cost of any "critical" structure.  Any of Bader's "good ideas" are buried in an avalanche of "any idea." ... A lot of artists - despite whatever art's claims to freedom - wouldn't let themselves behave half this stupidly. ..."

"...on the internet you would see mugs printed with inane images auto-designed by algorithms. It dredged everything available to place it onto a mug. Everything onto everything. A tornado of reference and attachment, and the audience in the whirl attempting to see anything to relieve the anxiety of so much garbage, vertigo in feeling one's toes sense the full ocean of production."

Read Full:
All posts tagged Darren Bader
Darren Bader at Franco Nero
Darren Bader at Blum & Poe
Darren Bader at Andrew Kreps
Darren Bader at Sadie Coles
Darren Bader at Radio Athènes,
Darren Bader at Kölnischer Kunstverein
Darren Bader at Andrew Kreps

Saturday, March 11, 2023


"forcing the child to smoke the whole carton, painting. A 'too much' to taste, painting. Sittig's had been so entrenched in their miasma (paintings that approached, but never quite landed on, hyperbolized mud) that no love for paint would save it, they were paintings dying in their own tar pits, unrescuable."

"keepers of the sewer."

Dominik Sittig at Nagel Draxler Kabinett, John Miller, Dominik Sittig at Nagel Draxler

Thursday, March 9, 2023

Fabrice Gygi at Wilde, Genève & Holly Coulis at Cooper Cole

(Wilde, Cooper Cole)

Today we should all be paying a lot less attention to Gerhard Richter and a lot more attention to Bernard Frize. Because everyone today is nervous what to do with a corpse, Frize already provided the answer. 

Both of these artists used to be harder, and that's a selling point. 

Wednesday, March 8, 2023

Nikos Velmos at Radio Athènes


A drawing does what so much art must artificially prevent - its exhaustion. A drawing is only an idea, a scratch pad for the realized candy. The drawing is instructions for a creation inside your head. What kunsthalle budgets and SFX can concretize will never match the monster hiding in the closet of your mind. This is why inkblot abstraction has taken over the artworld - it secedes responsibility to the viewer for its meaning - making it an interminable interpretable fount. But we already had one in good ole stupid drawing. This is what we must protect from the landlords. 

 Past: Robert Kulisek at VI, VII

In the sky, written overhead by plane: "Leave the youth alone. Stop extracting their joy to be sold like a vampire pleasure for vaults. Youth is not some fount to be bottled. Youth is not wasted on the young, attempts to preserve it the cold hands of those knowing is. A canned and brined youth. Advertorial youth. Youth to sell perfume. Youth to be enjoyed as youth is not youth. Put your plastic bottling devices down. There is no fount here, only cold hands."

 Past: Robert Kulisek at VI, VII

Sunday, March 5, 2023

Group Show at Wattis


More interested in the Exhibition Guide. Huberman has always made the relating of art itself an artform - a deeply earnest and plain one. And today we should be thinking about the plain guide. And this one teeters over audiential petting, but it's a risk feeling fresh, telling how far we've sunk into verbose ass. 

Dear museums, let me write a guide, a pamphlet, picks, to your collection.

Friday, March 3, 2023

Alain Guiraudie at Crèvecoeur & Timothy Kelly at Can

A joke about photography being the Hoover of the world, indiscriminately sucking.

Thursday, March 2, 2023


The waypoint between today's digital surrealism and the pre-renaissance's religious devotion ... the way spirituality has been rendered over the centuries has a direct influence on our computer interfaces. Organization of symbols to access higher planes.

See too: Caroline Bachmann at Kunsthaus Glarus, Interface Astrology

Wednesday, March 1, 2023

Mungo Thomson at KARMA


This is just the Bechers with a jazz soundtrack. 

Like Marclay's Clock, interest is subsumed to a logic, an accounting fulfilling the parameters. Quality is mere quantity, organized. Collector porn or just something to do with those stacks of old magazines. It would seem to have some relation to conceptual art, with the aesthetics of administration. But what Bernd and Hilla Becher made into an ontological question, Mungo Thompson turns into a funhouse, conceptual art with the numbing affects of cinema. There are no questions here, only bad answers. Questions depleted to games. Thompson trades the aesthetic experience for the trick of "getting it." Getting it becomes the relief. Because people hate "not getting it" and Mungo is there to apply balm that the world makes sense, that there is rationality in the system.

Past: Mungo Thomson at Contemporary Art Gallery Vancouver

"...Thompson's replaces romantics with cleverness, inserting pop-culture into the permutations of conceptual art. It's all almost funny. e.g. John Cage's 4:44 rendered beautifully as symphonic chirping of crickets. [...] The list goes on and critics groan and the uninitiated feel some sort of awe at getting it, art, we get it, the easily explainable trick Mungo's greatest trick of all."

Past: Vincent Fecteau

"Like a google algorithm trying to invent a car part, like a human recalling some vague sexual attachment to a physical object.."

"like ears or industrial labia.... the 'complicated pockets'. "They resemble, brandish resemblance... morph ..twist in like an ouroboric muscle car. Like cutting open your abdomen to reveal a cathedral. These turns are important, they mirror our body's soft points, the vulnerable pink cusps." 

"Notice your body shifting from exterior to interior, your lips, eyes, anus, ears, urethral opening, these twilight moments rolling into."

"The muscle car was - if by name alone - intended to resemble a body. Exuded the 'muscle' it contained, sleek and rippling with. The image seeped into culture and the fast cars took on different appearances, insectoid, technical. But those muscled images remain latent and Fecteau seems to pluck and rearrange some subconscious forms of these chopped and reassembled [...] 

Tuesday, February 28, 2023

Amalia Ulman at Jenny's

"The theater that came next placed their social capital literally on view, staged, showcasing the finer patrons on a pedestal and brightly lit to be gawked upon. It would be called a Blue Ocean Strategy... Whatever institutional critique it held was mostly in the fact that it could do it better, insinuate itself better, prove the sporting of it, point dull yellow lights at the gameroom of it."
This is how you get corrupted. Eventually you get intertwined, which is the same as ensnared, because you know these people. Your opinion is no longer neutral, you bite your tongue, you become a compromised asset. There's nothing New Yorkers love more than self-congratulations. They and movie industry making self-congratulations an unironic artform. This is Empire and its state of mind. Do I fear other's toes? - that's what no one was asking. It's fun to be part of something. The toast and the roast are the same to the professional. It's barely caricature at this point. Robbin's Talent was funny because it wasn't a joke. It dryly announced its commercial moment, no art to it at all. Artists as their headshot. Artist as professional. This was before "Top 10 Under 30"s. It was saying the quiet part loud. Here the caricature is alms paid to deny the horse of it all. Barely caricature at all. 

"A culture, say a magazine or a museum, that can purchase an absolution to the images it wants through an art that gesticulates critique."

Friday, February 24, 2023

Karen Fan, Caroline Zhang at Gern en Regalia


A state of painting that has sunk so far into endless permutable decor-figuration - that someone actually tending to the body feels like free healthcare. Nursing wounds.

Thursday, February 23, 2023

Past: Andrea Zittel

"... " Zittel is local science-fiction - ideas as propositions, viewing them you get to feel the utopian impulse - imagine a world where we haven't already welcomed the new insect overlord, fantasy rebellion against Empire. - a fantasy of a world cognizant."

Read Full: Andrea Zittel

Pae White at greengrassi

"... Grandma's quilts compressed into jewels, like Babylonian cylinder seals you can roll out their patterns to any length, threatening a mass production of precious moments.

Pae White at greengrassi

Wednesday, February 22, 2023


"... Filth is only gross when we fear its spread, contamination. And we have become lovers of filth. [The list below proves it] ... It could 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..."

Read full: Brandon Ndife, Diane Severin Nguyen at Bureau

Tuesday, February 21, 2023

Gowoon Lee at Meredith Rosen Gallery


An enhanced interrogation on our own childhood's wet eyed tube intake. Art History's torture of Disney rodents: Oldenburg, Foulkes, Pensato, McCarthy, Beeple, et al.  Attaching artistic electrodes to the commodified rabbits and amplifying pain. Our moment today: "the body reappears and it appears as a cartoon, which we're mad about." Why? Abstraction: "Our bodies extrapolated from the growing prevalence of data and numbers domineering discussions of humans. The "broad picture" we use for governance. People as populations. Everything feels like a cartoon in this virtuality because you can do great violence to it. A million jobs lost, a million jobs gained. Tom whacks at Jerry with a mallet like an axe. Jerry distends."

"...comedy premised on slapstick’s violence upon the real, stretching the real into a comic absurdity, teasing a threat to break it, which rationalizing this discrepancy forced laughter in children...What may be interesting about this show is that we have defined the moment, the kids grown on cartoons have arrived and their childhoods have coincidentally, absurdly, become the accurate depictions of the way the world has begun to feel, and will soon become generic, but at least we'll get to stop repeating ourselves."

Monday, February 20, 2023

Past: Isa Genzken

"To make one of those statements that art writers have tendency to make based upon an inflated assessment of their own opinion's import... Bruce Nauman has passed the torch of most influential living artist to Isa Genzken. It happened in field about 4 years prior as part of a much unpublicized ceremony 28 miles due south of Santa Fe. Without fanfare, neither artist even leaving their respective vehicle, handed through lowered windows, Nauman reported to have said "Best of it." The two made eye contact and somewhere off a small goose was made to fly along with several terse press releases from the agency that assess such matters. It was said that Genzken's speed finally attained escape velocity from the crushing gravitation of Nauman's iron mire."

"Genzken founded strategies rather than objects, an artistic down-shifting, a speed that could overtake. "the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects" i.e. When we see Genzken we react to the deployment or manipulation/alteration to its strategy, the means of attending the object rather than object itself. Weirdly deny the consumptive act of looking by permanently existing in a state of limbo.."

Saturday, February 18, 2023

Elliott Hundley at Regen Projects


The "just fuck my shit up" school of reasoning paint to canvas. Building armatures to spray. Rube Goldberg device, for displaying juice. Paint will always look good. This is a permanent feature of art - that these gold coins we trade are always already minted, you are just looking for reasons to fill the parameters. A backronym for the trade. 

Friday, February 17, 2023

Past: John Miller

"There's Yves Klein blue and John Miller brown, a color so untranscendent as to castrate any pretense of art's higher plane, reminding us of our earthly rope tethering bowels to earth. Miller blockades, belittles, our azure sky fantasy with the lesser order, everything we would prefer to forget immortalized over what had been our vacations, from drudgery."

"flashy twinkling across televisual space frozen as the wallpaper of painting and hideous: television zazzle becomes the bad struggle to taxidermy it. The Price is Right ... a Vegas labyrinth watching guesses at the price of garbage, but Miller's focus on the chintz is as much an attack on painting as much as any politics of mass entertainment ... Because the television game is no different from the majority of dealers and collectors also guessing the eventual price or status of the painting before you...."


"...like green leaf lettuce and frill and Kooi's superfluity - increases in a descriptive power only release further metaphor, an excess of reference, description becomes the watering can, flowering a loaded lettuce content, a power for suggestion, leaving you, pervert, with pesticides spread against tumescence."

Kinke Kooi at LuluKinke Kooi at Lucas Hirsch

Wednesday, February 15, 2023

Camille Soualem at Exo Exo


George W. Bush's leaked Guccifer paintings were laughably earnest in the ex-pres's personal struggle with representation - they were self-conscious, bad, and, literally, nakedly vulnerable. The ineptitude allowed obvious metaphors that any regular publicist would shine out. A war criminal's self-portraits with all the symbolism of teenage art class. And this was the president's teenage years. Literally looking in the mirror, at toes, again, naked. Later, when Bush realized he could append thick abstraction to cover for lack of talent the paintings became middling, average, collegiate. An impasto to cover the cracks, a style to camouflage. But the bad was when it was good. Appropriate here. 

Tuesday, February 14, 2023

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. ... 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

Monday, February 13, 2023

Past: Koak at Altman Siegel

"... The painter demands composition, extraction, humans repurposed for painting's ends, how modern. Arabesque motifs get harsher until the ballet seem inhuman doll-like, Picasso rips apart models and we find this intoxicating. Our runway models and their own body's El Grecoing..."

Read full: Past: Koak at Altman Siegel

Sunday, February 12, 2023

Peter Fischli at Galerie Buchholz


This torturing our social symbols. Why? What does a technical interrogation garner? What are we looking for?

Saturday, February 11, 2023

Past: Magnus Frederik Clausen, David Ostrowski at Spazio Orr

 "The less you try the closer you are to getting something uninhibited, almost natural. You get raw wood, a brushstroke that looks free. Like it's not in a cage. Of course no one really thinks it is. But you maybe get to imagine it."

Past: Magnus Frederik Clausen, David Ostrowski at Spazio Orr

Friday, February 10, 2023

Graph paper day - Hanne Darboven at Petzel & Jennifer Bartlett at Marianne Boesky

(Petzel, Boesky)

Graph paper day at CAD. Where one's accounting system attempted visual coherence we could call organization or even "aesthetic" - the other had no problem fully opening its system to endless all encompassing meaninglessness. Of course it's not true. Both are equally meaningless. But the ones desire to cohere some graphic, pattern, or reason fulfills its function as art. The other made an ocean.


"the staggering vastness of information, The feed we are forced to endure, the stream choked down like faucet glued lips ...  the .jpeg format is a finite set of pixels, already contains within it the entirety of images, every photo that could possibly be taken, in the noise there are nudes of you in it, of your father, nudes of Napoleon, simply shuffle the pixel deck enough, one will be accurate, the trick is finding something meaningful in the babble, in the stream knowing what meaning would even look like."

"Proposal: A series of videos of curators explaining Hanne Darboven to their dad."

Read: Hanne Darboven at Sprüth MagersHanne Darboven at Deichtorhallen

Thursday, February 9, 2023

Past: Theodora Allen at Blum & Poe

"Call it, Byzantine icon influenced iPad Tarot painting. Maybe just, iPad Surrealism. Interface Astrology. "the priest, like the painter, is perhaps the manager of both realms"

full: Theodora Allen at Blum & Poe

Wednesday, February 8, 2023


"... like looking at a museum through Heineken bottles ... And this chromatic loss only instead heightens desire, want for the full spectral ecstasy, denied in your beer-glassed body. Maybe this is what Homer meant by a wine dark sea, ... But, this continually applied loss could be metaphorically over attended, it is too meaningful, and wants for. Its erotic denial is itself a thing..."

Full: Brook Hsu at Kraupa-Tuskany ZeidlerBrook Hsu at Manual Arts

Elizabeth Orr at Derosia


Painting takes on the appearance of a widget, a machine for itself. Functionality is an appearance, an affect of form. Like Matt Paweski, there's an enjoyment of the functional object's subservience, a footrest for your feet, for your eyes it displays.  

see: Matt Paweski at Park View/Paul Soto

Tuesday, February 7, 2023

Magali Reus at Museum Dhondt-Dhaenens, Deurle


Reus is exemplar of the cartoonification of the world. Everything convertible to plastic, printable. "tradition was wiped out by the invention of capitalist plastic. Labor was reduced to work, and craft became manufacturing processes, became laser cut wood, CNC milled blocks, a thousand interns on call. Suddenly your dreams could be injection molded. Ostensibly." Now the chore becomes pressing print, of everything on everything, Paintings are already printed on totes to toilet paper so why not a wooden spool? The algorithm combines and consumer clicks value. The artist becomes the algorithm in a society that doesn't know what it wants. The great recombinator. Post Rachel Harrison blowing up the mall - it returns as souvenirs. It is not the artist's "semantic ambivalence" - it is the world's. The world is stupid and functioning, and art we are given we are said to deserve. 

See too: Darren Bader at Andrew KrepsSam Pulitzer at House of GagaSanya Kantarovsky, Camille Blatrix at Modern ArtRachel Harrison at Whitney Museum

Past: Magali Reus at Westfälischer Kunstverein

"the created objects treat the real as constructible, the physical as putty in cartoons, detached from their specific instance and arranged into hieroglyphs, what Javier Hontoria referred to as the artists's 'semantic ambivalence.'"

Magali Reus at Westfälischer Kunstverein

Thursday, February 2, 2023

 Past: Sung Tieu

"Astrology like tarot cards finds alliance with art since the artwork has mutated to be less an object of beauty than a fount for interpretation. Art having gone from object to oracle. The point of art begins to be setting the spheres to rotate so they may occasionally align, a machine for semio-recombination we could call meaning. Artists become not merely the recombinators of signs, but the producers of machines to do this, to be turned to on, set to run. Endless interpretability becomes their function."

Sung Tieu at Emalin

Patricia L. Boyd at Secession, Vienna


The "certifying white light." Of food porn, pornography, and god. Also the gallery. Product photography. To reduce blemishes. Feign omniscience. Pretend to be science, all knowing, objective. If we could remove darkness, spend extra on the intricacy, we would find some kind of truth-identifying substance. We only require extra wattages, a more technical brilliance, higher levels of magnification, detail, analysis. Then it will be revealed. The exhaustion engine. 

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.

Wednesday, February 1, 2023

 Past: Hana Miletić 

"...that labor itself returns as a literal fetishism, stitches mark this labor, look compelling, can be brought out onto white walls, as aura, as artwork. Labor itself becomes auratic, the look of it. Simulacra. Because every cheap objects is an equal tapestry. The stitches in time are smoother, hidden. Hold up your child's plastic toy and feel another at its end.

"Because knitting is so laboriously outmoded it can only be care, i.e. not capitalism, more love hours than can ever be repaid, etc. Knitting is the province of excess time, and attention, which translates to -anticapitalist- care)"

Full: Notes on StitchesHana Miletić at Basement Roma

Tuesday, January 31, 2023

Isabella Solar Villaseca at O—Overgaden

Artists take note! The t-shirt is an honest signal. Unlike for so many artists who must subsume their signs/fandom into craft objects as value, the lowly t-shirt attempts no artistic bruhahaha. The t-shirt is stupid, democratic, it is your vote - which is why we like it - and why so many bad artists attempt to leverage their tastes as "art," monumentalize their like into statues, little fascists that artists are. 

Saturday, January 28, 2023

Group Show at House of Gaga


Recognizing art is different from seeing it. We experience registry rather than sight. It's not a camel, it's a Heji Shin. It's never more noticeable than in group shows of a certain age(?).  Becoming recognizable as an artist is a certain type of death. Which many experience as unfortunate success. This is important recognition. 

Poppy Jones at Overduin & Co.


The receding sign, withdrawal, threatening loss, like paintings in the rain. 🥺 sad. "art often feels like a process, technology, for imprinting nostalgia. Casting banality in bronze, silver, with a halo of rose. " The Sontagian elegy of photographs as an Instagram filter. "preserves your recognition like pickled pigs and call it romantic." Pre-attaching its loss, you can almost print it. Nostalgia turning into an industry for creating it. 

see too: Moyra Davey, Peter Hujar at Galerie Buchholz

Thursday, January 26, 2023

Alex Becerra at Karma International


IN 2014 Alex Becerra was titling exhibitions "problematic whores" and getting reviews in Frieze and LA Times. Lauding him for "the self-granted freedom ... that no white artist would dare put his name to.""clearly feel[ing] no pressure to self-censor, which is a rare thing today, not just amongst artists." Now almost 10 years later the paintings are tame and the "reviews" come from culture magazines. It's a classic shift of the painter entering midcareer yes, but also a measure of how the art world has childproofed itself. No more edge, is it growing up or growing old?

Past: Nicolas Ceccaldi
"the indulgence of style seems the point, the running theme throughout Ceccaldi's: oversaturation of 'content,' a new version of camp: 'ostentatious, exaggerated, affected, theatrical.'  It's an blanket you put on things to make them appear new. You put dark fairy wings on young children, attach biomorphic toy-parts to video cameras, remake Beethoven with the signs of the dungeon dweller, paint it black and turn it upside down and suddenly people react to the affect rather than any individual content"

Wednesday, January 25, 2023

Ishi Glinsky at UC Santa Barbara


For a century now art has been take x but big. Expressionist childhoods projected at meters square carried 50 years of art. Etc. So no foul here. (And we've said before, big jewelry, brilliant.) If you're going to put the sign on the wall, put the sign on the wall. The sign scales. And scale is a tenuous thing today, it may be the defining characteristic of it. The ability to scale. The loss of scale in image that consumes us. Richard Serra could build something so big as a sign. 

See too: Ana Pellicer at House of GagaAmanda Ross-Ho

Tuesday, January 24, 2023

Evian Wenyi Zhang at Lulu


The book page, the altar piece, the comic panel, cubism (ostensibly), Google Images, GUI space, the "F shape" web structure. Information design, every so often a new way of looking is invented, discovered.  The form creates the seeing, realigns the world. Not sure this is it, but it's a noble pursuit. 

Monday, January 23, 2023

"What hides behind the nicety is an insidiousness of attentional assault."

Past: Laura Owens at Capitain Petzel

Friday, January 20, 2023

Koichi Enomoto at Nonaka-Hill


This on the other hand is the Pollockification of figuration. The splatter gun school of content. The drips become sign systems, limbs, etc. Painting is the flypaper of culture. Collects its surreal. All forced into the depth of an Ipad, or again, Beckman. Painting as your punk jacket assembled and stitched with the cultural buttons you find neat. 

Thursday, January 19, 2023

Satoru Kurata at Tomio Koyama Gallery


Most of today's wild wacky arm figuration is limbs as an excuse for some Pollock. An abstraction excused as the narrative it isn't. (Like we still haven't gotten past Schutz. Or Beckman.) But here the narrative structure is stupid simple, effective. The trick gives subjects autonomy, the minorest amount of agency. We see them seeing. Instead of just the painter. Which we still always are. But we get to forget that for a brief edenic moment. Momentarily vicarious.

Wednesday, January 18, 2023


"We've been staring at lights for a hundred thousand years, fire to hearth to television to phones, the light we arrange our living rooms around, surely finding comfort in our control, ability to channel and manipulate forces. We can now flaunt it, bend the tubes of capital to allow its flows to move through our neon, make it baroque to brandish it - its light as proof of our life, the lights are on, we are vital. Where once the fire was symbol of home, lights are now proof of capitalistic viability: an artist keeping the lights on."

"...i.e.: Conceptual Art was always [already] maximally poetic; failing to deliver the object the bureaucracy its language promised - breaking the logical glass to expose perfume of its confusion. Glossing beauty atop to prove it: annoying at best. Wyn Evans engagement with this problem seems, at least partially, the point, the aestheticization of experience and awareness of it. This is the sinister pulsing of Wyn Evans, the fact that there is no need for this artificial light."

Click for Cerith Wyn Evans at Galerie NeuCerith Wyn Evans at Museo Tamayo

Tuesday, January 17, 2023

Reto Pulfer at Hollybush Gardens


This type of artwork may be the final boss of 2010s contemporary art. A book you can't read. Pinned to the floor. An object of infinite affect. Compare to this object from 7 years ago. The tied up text.

"The packaging - the design, the arrangement - is the object, the affective manipulation of its viewer: the object above all connotes. Connotes intention and therefore meaning. The documentation encircles and presents it." But also prevents it.

"It creates a hole for the projection of its potential, fun or meaning. ...  The art object must be an inexhaustible hole, an affectation of the toy never opened. Like the toy manufacturer who ultimately wins by having privatized access to object, the artwork privatizes its "meaning." [Both are locked in packaging. ] It "means" nothing outside of the inflection of its affect [advertsing]. Circulates its sign within the sign structures of art, it looks like art, like it means something."

The toy designer and the artist no longer design a toy, design an artwork, they design a transaction. 

Monday, January 16, 2023

Past: Julia Scher

"The security camera, early exemplar of our proprioception lost to digital realms. Magritte's Not to be Reproduced no longer surreal but our reality, walking into department stores. Your body could be distended in mirrors sent through ethers appearing before you, behind you, and on facebook to poke, instagram to heart, your body a ghost appearing in other's mirrors. You appear everywhere.

"Like deafferented monkeys in lab experiments we lose control of limbs at the researcher doing studies on our psyche attempting to maximize engagement, a word which now means clicks, their hands in our gloves. Animals living with open brains..."


"Notable to the migratory flocking, Henkel and Pitegoff decamped to Berlin and opened a bar. In business it would be called a "blue ocean strategy," i.e. with Berlin's art party become more Donner than dance, the artistically snowbound cannibalizing, a bone thrown to waters bloodying was respectable way to neutralize hungry dogs, demonstrate oneself a source of sustenance, feeding the hungry with cocktails, was no small ingenuity. The theater that came next placed the bar's social capital in the spotlight, literally on view, staged, showcasing the finer patrons on a pedestal and lit to be gawked upon. Before exhibiting the bar itself. Whatever institutional critique it held was mostly in the fact that it could do it better ... continually furthering of the Berlin trope of artist diasporas of song and dance routines to attend the paintings and objects..."

"'I’m leaving because this is bad. Because it’s really bad, isn’t it?'"

Saturday, January 14, 2023

New Space Show at Layr & The Old Greyhound Bus Station at Bortolami

New Space day at CAD. An old bus station, a fresh digs. The exhibition space is the thing we're meant acknowledge but also not supposed to really acknowledge. (It would be too base to talk about the space in a true art review.) But yet it's there, the cosmic radiation to art.  I'm not even sure we have a language for its criticism, we only talk about it as a whole, as the common cube, to everyone. The implicit gold wreath. That now occasionally self-acknowledges? The exhibition's space is the watermark for the gallery's brand. the identity - so of course there is desire to puff its chest. 

Thursday, January 12, 2023

Cindy Ji Hye Kim at Kunsthall Stavanger


Saccharine counterbalanced with fragility in excess. Laser cut bones, graphite sandcastles. This will all be erased! Graphite drawing: granules in time, sand in the hourglass! It makes the chintz bearable knowing it will disappear. Why does our nervous systems resemble brambles? Our venous system roses? Our love all tinder in the long run's fire. As we desiccate. To the charcoal we will become. Art linked to our own bonfire.  It makes the sweetness temporary, endurable. Saying the same thing 3 times. 


"so Humphries' neither expressive nor quotational of expression, paint is instead already perfectly dumb. This separates them from the hordes of zombies: no search for brains. 

"Like Richter whose painting exists in the netherworld of a stupid transcendence, instead just give us what we want, paint, flesh, dumbly."

"..the well worn jazz hands of "expression" aren't, for Humphries, totally choreographed yet by Dr. Frankenstein... the corpse may have its fluids replaced in technicolor, paraded around in chromes and newfangled chemiluminescence ... not just silver paint but making the silver paint shine like candied yams."

"the more vulgar excesses of Humphries's paint always excused by its obliviousness to the demands of "making a painting." ...

"This song and dance is actually a visual pleasure of a long dead corpse embalmed really well."

Tuesday, January 10, 2023

Adam Higgins at Chris Sharp Gallery


Drip paintings as hyper realist memento mori? A salad days preserved for years, preserved by "photography's inherent embalm and morbidity." Argument: "But youth should be wasted, sloughed into bogs of our own autumns. Instead [salad's] preservation, feeling always like photography flexing its own ability to do so, holding its pearl while we are like strapped to dying animals, timers and all. Like Imhof's Faust, subjects are forced into becoming advertisements for themselves [for painting], for the thing they cannot hold onto but [art] gets to reap." So you get your big abstraction, at a slight remove, and the humility flies upon it. They're vanitas, all art temporary, your Pollock rots, attracts vermin. This will all spoil!  But only in representation. "Dutch vanitas were also a means for the wealthy to signal their humility through ostentatious displays of said humility." The joke is you get your cake and display a humble cake too. 

Past: Mai-Thu Perret

"at what point is it an "archaeology of modernism" .. and at what point is it recasting its forms in more precious materials, as designer souvenirs of that history? "

"... as the commodes of home catalogs and design-porn magazines. Souvenirs of a high-end experience. predicting the craft object trends. The pottery on everyones shelves, neon signs trending in summer cottages. Perret originally created a narrative of a fictional utopia which "produced" the artworks. All the funnier since the trends that look like hers all premise themselves on the selling of hopeful futures, the crafts we will all already be acclimated to post-apocalypse, raku firing our dreams. Perret eventually got rid of the utopia fiction, and then they became just art, much less utopic."

Read all posts tagged Mai-Thu Perret
Past: Lucy McKenzie

"... the modern question of whether we should believe in the sign or not, the surface or not, like clue boards we're not sure to trust, as the PR states: presenting legal grey areas in culture’s appetite for the genuine."

All posts tagged: Lucy McKenzie

Wednesday, January 4, 2023

Past: Henry Taylor at Eva Presenhuber

It's a odd property of most paint that you can't brighten black skin by adding white; brown's vibrance is muted by white. While the tonal value is "lighter" the chromatic intensity is lessened...  An artifact in history's poor representation of blackness ... in the paint itself.

Full: Henry Taylor at Eva Presenhuber

Tuesday, January 3, 2023

Manuel Solano at Carlos/Ishikawa


The blind painter, it's like a Borges story, we see the creation the creator cannot. The preloaded failure in communication, the age old question whether the tree in my mind is the tree in yours. Why was it important for culture to keep dinosaurs lizard like - we were afraid of boys constricted by feather boas? Puffs with teeth underneath? If these dinosaurs are flamboyant then Jurassic Park's are alt-right. We're not even sure we're looking at the same thing. Different trees.

Past: Raimer Jochims

"There is analogy to be made in the sculptor as an intestinal tract: Freed from the structure and striations of skeletal muscle ... the smooth muscle sculptor digests like an intestinal tube that is artist's erosion in time... just rubbing, frottage until the rocks are tumbled to our gratification."

"Jewels or portals, the tension-confusion. A faceted sapphire is both; painting a jewel for your wall."

Click: Raimer Jochims at Jacky Strenz (1)Raimer Jochims at Jacky Strenz (2)Raimer Jochims at Jacky Strenz (3)Raimer Jochims at Jacky Strenz (4)

Monday, January 2, 2023

Rodney McMillian at Petzel


Connecting the dots between rooms we would assume those too are fake modernist "decoys" - not precisely art -which, in the longstanding modernist battle to end art, making a fake version seems as apt as anything. But fake art presents the real-fake-doors conundrum - that the fake requires an authentic. Which there wasn't. It's all in service to the trophy - the token as meaning. What is a trophy? And not even sure why we wanted to kill art - but this seems less an attack on art more like attempt at self-deletion, the trophy hunter capturing himself?