Elad Lassry at Le Plateau

(link)

I like in this documentation how extremely far away the artwork is. In all of it. Like stains on white walls. Like placeholders for art, tokens for the objects that should be there. Like setting quarter down in golf. This feels apt for Lassry, treating images as objects and objects as images, teases art for it commodity. The frame for the packaging, the metal that contains the thing printable by the roll.

Hans-Peter Feldmann, Elad Lassry at Francesca Pia

(link)

No one quite sure what made Pac-man desire the cherries, berries, pretzels, points yes, but also a sort of innate collectibility, even those not playing for points desire their plump glistening. Some objects have a value making them collectable, but other objects are manufactured to be collectible like cherries, Beanie Babies, Hummel figurines, model cars. Postage stamps have collectors and manufactured collectibility, those valued generally no one expected a need to collect. Both Lassry and Feldmann imprint themselves with the seductive collectible, because that's what they are.

Elad Lassry at David Kordansky

(link)

If Lassry's photographs feel fetishistic it's because, like Furries costumed in fursuits as substitute for the slick lines of the anthropomorphic cartoon animals they desire sex with, Lassry's photographs dress their photograph as slick objects to anthropomorphize the objectifying seduction of photography's cartoon version, wearing a "fursuit" of the image color coded to the frame. Lassry's "photographs" self-objectify under gaze as tactile and plastic visual pleasure. They more cryptic the photo - deprived of its raisons, however "straight" - the more its surface appears in blankness, the blank allure of sexual consumability of surface and seduction, lozenges of virtual material. These ultra expensive objects "carved from single timbers of Claro walnut wood" will disperse into homes and be collected by those seeing them dispersed, consumed like cherries in Pac-Man.

See too: Lucy Skaer at Murray Guy