Amy Lien and Enzo Camacho at CCS Bard

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I said to him, I said look we've become fishwrap, yesterday's newsprint swaddling the sales of markets today. Is all text doomed to becoming wrapping paper? the metaphorical fill softening shipping through networks and padding CVs? Artists are given weird powers of sedimentation - they can objectify things, make coins of text, turn concepts into property. Krebber's painting the critiques seemed to quickly doom the blogs, one immediately, proving their word's impotence against commerce. No critique - however acerbic - was going to stop a transaction.  Dear Arjan, I was going to say that Schjeldahl's critique of Koons was important: "To stroll into the Sonnabend Gallery today is to be gang-banged by a crew of inanimate demons." "You can love him or hate him. Either way remember this: it doesn't matter." "He is going to be rich". The Krebberian stupidity of objectifying blogs didn't matter, it still gave them the physical chip that allowed barter, the thing writing can't quite give itself. Buy my book.


see too:  Henning Bohl at Karin Guenther, Calla Henkel & Max Pitegoff at Cabinet, Amy Lien and Enzo Camacho at 47 Canal, Amy Lien, Enzo Camacho at various locations,

Amy Lien and Enzo Camacho at 47 Canal

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You will spend 3/4 of your press release explaining this object, an artifact precipitated from global anxieties. The story is interesting, succinctly narrativizing global transition's stranger expression as as a terse plot. The story almost a retooling of the standard Disney prince/princess narrative, the pauper/prince transforming his embattled town to gold tech industry; the coffin carpenter saws himself into manufacturing mogul. Storytelling magic, installing the lens to view the object as new. An object once prized for inexpense (rivaling ikea!), it now has value for the story it contains like a totem. 3/4 of reviewer's wordcount will be recounting the incantation to install the program in their readers. To see this global precipitate for our study, under new lights, placing lights in it, illuminating it, live cameras to portray it from a new and multiple angles and place within it a potion of "wood, ink on rice paper, single-channel video (7:00 mins, looped), plastic bundles containing: inflatable dolphins, security blankets, dried mushrooms, bath mat, bucket, rice noodles, dried fish maw, poncho, lotus leaves, candied winter melon, aluminum platter, 360-degree panoramic WIFI camera light bulbs" - fish bladders take on the flavor of the soup they are in - to activate "artistry," and to its benefit 4 questions end it, directly asked in the PR like a book club edition's questionnaires for sparking conversation, refreshing in its directness, and us looking to find answers searching at all the beauty of totem poles.



See too: Amy Lien & Enzo Camacho at 47 Canal

Amy Lien & Enzo Camacho at 47 Canal

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Haegue Yang’s early blinds - prior to the later shopping-spree installationism - interspersed heaters, smells and videos of airport lounges within its venetian mazes to create metonymnic sites for the then-still analog fracturing of space (it was 2007 when jet-setting was still the only way to fly) was relevant to globalizing artworld. Yang's spaces disfigured unconscious visual ordering of space and inserted their own artificial senses for it. The video monitors depiction of circulation’s non-sites became ironic respite from the disorder, but in the banality becoming no escape at all. Of course that all now looks nostalgic, superseded by the all-powered exchange of monitor-theater.
And so here the lights turn low and the curtain drawn around all-interior personal theaters, locked in to Bacta tanks of network refresh in a Sturtevant spin, fleeing videos in which attention cannot be directed-to but merely mis-directed by whirli-wig visions, matching the press release's dizziness of everywhere-nowhere artist romance, refreshing art’s nauseating self-sentimentalization.