Group Show at The Downer

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It's courageous, setting your art against the outside, to compete with the real. This is space of painting's "pure idiocy." Its hard headed survival. Or the PR more descriptively, "On the whole, [painting] is fully unbothered by its detractors and lumbers on, buttressed by history and money. Like Don Draper telling some irate underling that’s trying to shame him, “I don’t think about you at all.”" Painting is "this invincible thing that is constantly at war with itself is exhilarating." A stupid animal surviving in spite of itself, protected by some aura, which we all love to argue endlessly what. Art, as our collective cloud based MMORPG. As long as there's players, the game continues. 

“Lemurenheim” at Meyer Kainer

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Every 10 years assemblage reinvigorates itself as the dumpsters picked through are modernized to the current castoffs and appear new, the waste that evolves along culture until finally an artist is able to rummage up enough LEDs, acrylic panels and Arte Povera catalogs to accumulate the update to our Rauschenberg cardboard clogging the pipes of our forward progress. At least sticks are still in vogue as symbols of the foraging, our original human toil, production.



See too: Ei Arakawa at Taka Ishii & Peter Halley at Modern Art, Kerstin Brätsch at Gio Marconi, DAS INSTITÜT at Serpentine Gallery, KAYA at Deborah Schamoni,

KAYA at Deborah Schamoni

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Genzken the most influential living artist not because everything looks like it, but because it predicated a conglomerate speed absorbing any last vestiges of particular attention to individuated objects; for some time the exhibition had been replacing the singular object exhibited as the base unit of art. And whereas others used this to produce "series," product lines, Genzken extrapolated, used this as a means of acceleration in which speed and production was the communication, attachmenting amassing product and centering production as the point. Genzken's resurgent rush fucking-the-bauhaus predicated interest on their speed. That the production of itself became the product.


see too: Isa Genzken at David Zwirner , Ann Craven at Confort Moderne,  Kerstin Brätsch at Gavin Brown