Bradley Ertaskiran [Bunker] at Contemporary Art Daily

(link)

It's generally frowned upon, the extolling/photography of your own bellybutton. Navel-gazing's "self-indulgent or excessive contemplation of oneself or a single issue, at the expense of a wider view."

But when has art ever been above its own self-aggrandizement, mirrored-auto-pleasure. (We've practically turned that itself into an art.) (This the obvious fallout of institutional critique.) The mirror becomes shinier, more pixels added, until someday hopefully the functions themselves become visible. We ascribe great power to a room that is the ostensible factory of our meaning. Painful to find to only rooms. Go into a church and find the basement's folding tables, plastic conference rooms for the glory of God. They are but rooms. The phantasm of nothingness. 

Ala Bourdieu, the real consecration is getting people to believe. 

See too: REDCAT at Contemporary Art Daily

Nicolas Grenier at Bradley Ertaskiran

(link)

Infographics given 70s gloss, retro and surreal. We like information, we've basically been evolutionarily programmed to find its stimulating, it feels like meaning, and given nostalgia's candy coating. This painting shows a scene from the new Indiana Jones where Jones uses the Staff of Ra to reveal a map on of the interior of Ed Ruscha's The Los Angeles County Museum on Fire before it sinks into the tar pits beneath Zumthor's black eyesore, all illuminated by a Kanye/Turrell floating stage.

See too: Emily Mae Smith at Rodolphe Janssen, Alexandra Noel at Freedman Fitzpatrick, Atlantis, Orion Martin at Bodega, Ray Yoshida at David Nolan, Sascha Braunig at Kunsthall Stavanger, Alice Tippit at Night Club, Lui Shtini at Kate Werble, Sascha Braunig at Rodolphe Janssen, Mathew Cerletty at Office Baroque, Anne Neukamp at Greta Meert,