TARWUK at HALLE FÜR KUNST Steiermark

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There was the Affect Theory Reader and then there was what the kids called "vibes." It wasn't what you advertised it was the fact that skateboarding dog growled it. Previously the hipster had mocked this with a discombobulated semiology of PBR truckers and really expensive denim. Rachel Harrison. The object was meaningless vessel to the light. Hahaha, we all collectively admitted, groaned, or smiled. But now we're here, in the sunken place serious with our mood lighting and artifacts from several genre of past wreckage. Alien, Roman, or cousin Greg. This is the acceptance stage of grief. The lighting has already done the airline crash assessment for us. There is nothing outside of mis-en-scene. 

See too: Josh Kline at Modern Art, Adrián Villar Rojas at MOCA Geffen

Stephan Dillemuth at Künstlerhaus KM–

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You won't get far before authority directs you to Dillemuth's website. Which:
"The abundance of content on his website and the density of his films testify [...] to the possible prevalence of means over ends; the viewer/browser can be left with the feeling of entering the centre of a never-ending task of organisation." You'll never quite get closer to it, no matter how much you peer at the subject.

It's important to note our assemblage getting cleaner, bodies too.

Matt Keegan, Kay Rosen at Grazer Kunstverein

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Language at architectural scales, symbolizing words' own arrangement of the floorplan of your thoughts. The infectious insertion of a stranger's speech into yours: when I write "lake" the word appears in you, my voice for yours. Reading is like relinquishing control of thought to an author's temporary marionetting of yours. How odd that my words are a voice in your head. Reading is such an automatic mechanism. It is a base human disposition to "read" our environment, to make sense of our surroundings, and advertising takes advantage of this: a byline appears and before you can stop yourself you have read it, allowed it briefly to control you and its message has been passed, its transaction has been complete, and its sign depleted lifeless garbage. Artists soften this verbose assault by clipping meaning, leaving it to never complete a logic but hover incomplete and

Florian Hecker & John McCracken at Künstlerhaus KM- , Midway Contemporary Art

Link Künstlerhaus , Midway

Sparkling green lawn's invention a fashionable show of power by an aristocrat class whose wealth made superfluous their land's need for production. Wasted space a show of luxury wealth in a symbolic economics trickled down to a middle class who too wanted shows of their own version of middle class luxury in a suburban plot. And so too today Manhattan bank and corporate office enormous lobbies are left unimaginably empty in the highest rate real estate markets today in a show of symbolic violence, waste as power. And then so too is the empty gallery a flaunting of space value, of sited sound's physicality and weight; value transferred from the real estate it occupies, $/sqft, the equation bare, voids given presence and meaning through the land, harnessing the original form of wealth, or at least subsistence, by farming the capitalist value for itself in effigy to its own grandeur. Minimalist modes as theater to its own presence, the precarity of Hecker's audio opulence set the gallery on pins.

See too : Paul Cowan at Clifton Benevento , Seven Reeds at Overduin and Co.