Kasper Bosmans at WIELS

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The Visitor's Guide takes the symbols at face value, making the painting hieroglyphs to which the guide is Rosetta Stone. Which implies an inner to be translated, implies a hidden meaning, which implies myth that art is pedagogical and museum as intrepid archeologist caretaking meaning for the lay. Put the bilingual dictionaries down. The idea of translation at all. 

“Splendor Solis” at The Approach

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There's a sort of funny documentation choice, Bosmans' paintings in one photo are in the next photoshop erased to leave the wall behind them, the light doesn't change. It's a small decision mildly touching on the artificiality of our cartoon conditions, reality able to be distressed, bent, stretched. The slow feeling of vertigo and stretch, a malleability we all permanently live under and probably why cartoons blitz across art as the world begins to feel more like them, and we look for things representative of it. Even if the paintings were actually physically moved, it would have taken less time to have been done in "post," after, do things to a moment after it has taken place.

Kasper Bosmans at Gladstone Gallery

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PR provides: "evoking political artifacts and labor practices reified into material gestures [...] presented as an ensemble of painting, sculpture, textile, and wallpaper, [...] rendering them as inert aestheticobjects."  Inert aesheticobjects.  i.e. The numbhanded approach, assessing objects with bloodless feelers that estrange them, cast across the gulf of meaning, the fissuring of symbol from its signified, this distance of the rift the interpretable space we call poetic. The symbols ability to store and dissipate information, hyperlink icons and broken links, and paintings with all the navigable space of ipads, littered with icons. The look of information, the pleasure of useless maps.

"Painting in the virtual space that our world increasingly appears. Space becomes an information deployment system, and layout becomes highly organized studied and manipulated. Style becomes a corruption of the subject. Reflecting the increasing prevalence the interface over the image."

See too: Karl Holmqvist at Sant’Andrea de Scaphis, Carissa Rodriguez at Wattis, Math Bass at Michael Jon & Alan