Ashley Bickerton at Kayu

(link)

A sliver in the engorged tumescence of art's moral decorum, Bickerton is an artist in need of a retrospective. Transmuting trash into violence and like the syphilitic artist followed, spreading souvenirs of exploitation. Containing no tasteful reserve, to be pulled by an onion from hell, but indefensible. Unpleasantness, gratuitously. Bickerton predating recent ready-made surrealists (of an after-internet sort) by a large fraction of a century that this looks so much like. Predates the internet they were supposed to be after. And that the vogue for distempered Magazine-ready surrealism looks a lot like overtly colonialist art is something someone should be paying attention to. Of course in curating a retrospective of Bickerton a curator would have to admit to, at least in some small part, liking it.

Luigi Ontani at Kayu & Rafaël Rozendaal at Postmasters

(Kayu , Postmasters)

The sinister and infantilizing carnivalism of Höller's slide's exemplifies the mask that is "fun" art. The haiku's use their light and airy tic-tac cutery to ironize their ennui in contemporary tones, a verse to its unfun. Ontani's garish ornation play to their lurid Orientalist appropriation. 60's pop-art that explained that fun already contained its co-option, never to be seen by art again, that art precludes fun, and a thousand art objects like tombstones to its purity.

see too :  Darren Bader at Kolnischer Kunstverein , Yuki Okumura at Misako & Rosen , Ugo Rondinone at Krobath , Pierre Huyghe at LACMA , Lily van der Stokker at Koenig & Clinton , Lily van der Stokker at Air de Paris