“2021” at Sydney

“2021” at Sydney

The decrepit and artifactual, pieces, there's something lovely forlorn about a single butt of trash like a rose. Good trash will bloom in the sun, wilt in the rain. We aspire to be like its emptiness, it vindicates our cities, we can see the whole world like a lens through the one discarded in the gutter. Trash reflects us, because we're better at deciphering ruins than cultures.


See too: Michael E. Smith at Sculpture Center, Nancy Lupo at Kristina Kite & Yuji Agematsu at Miguel Abreu, “May the Bridges I Burn Light the Way” at STANDARD (OSLO)

Marina Pinsky at Kunsthalle Basel

(link)

CMD+T. Click and drag to scale. Return. M. Click and Drag. G to fill.
Somewhere between Elad Lassry and Nina Bier waistdeep in the newfound rubbery substance of photography.  That photos do weird things in the world today. They wrap the curves of public transit, dissolve from gray paper in puddles, facade high-rises, are uploaded to clouds, stabilized by conservators, projected in darkrooms, amassed in feeds. They lack need for any substrate whatsoever yet the process of being photographed is called being objectified. You become an object and things become their representation. Photography is a purgatory between the filth of the world and the infinite white virtual. But so the wooden versions of the Cryogenic tanks too are privy to this process of objectification as we start to understand the whole world as photography.


see too: Nina Beier at David Roberts Art Foundation, Alicja Kwade at Kunstmuseum St. Gallen, Elad Lassry at David Kordansky, Jana Euler at Galerie Neu & Portikus, Amanda Ross-Ho at The Approach