Marlie Mul at Kunsthaus Glarus

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Mul's sort of "proliferation of meaning" surrealism had previously been formed into recognizable shapes: puddles, sperm, turds. Its cartoon symbolics didn't mitigate the seepage of content. The sperm wore wigs, the turds had alibi as clubs. Its cartoon built an innocence that seepage was willing to rescind. The funny puddle-in-the-gallery also floated a condom. Now the form is art, geometric abstraction, weaving, with suggestive material, Eva Hesse but less contingent, more mechanized. 

"Ambiguousness as a means for the simultaneity of surrealism. A tree sort of looks like a horse so we can put them together; a cloud can look like anything, much like a turd, some will see interest."

[What I] project from the two elegant bones still in contact with the substrate of the real is not the same as the one in your head. This unknown destabilizing of our ability to conceptualize the objects in equitable terms to exchange with another ... is its sinister quality.