Nick Mauss at Emanuela Campoli

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The original frizz of architectural decor in its becoming-painting has seemed to have just become painting. But it's a mirror! Okay. A different substrate, a little looser. Like the wildfire aha of painted televisions, a new substrate ostensibly is new ground. Not really. But the reversal is comedy. Painters today don't start with a blank canvas, they start with collector-abstraction and work backwards. The gesture is obligated, the choice is what can hold it.

Nick Mauss at Serralves

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The decorous and the amenable, the good object acquiescing to the hand presenting it. A "dramaturgical dimension, in which display and design were paramount, is now given over to the visitor as spectator" a theater, you actor. "gendered divisions between fine or applied arts" A decored room is psychological, decoration implores you, is affect, we should pay attention to it, its nicety. The accommodating object, through docility, still manipulates, passive aggressive architectural.

Nick Mauss and Ken Okiishi at Mendes Wood DM



The Okiishi TV one of the most confounding artworks of the last number of years. So obvious, ham-handed, and bungled it’s difficult discerning whether miraculous or idiotic. Brilliant commodities that’s for sure and an Artsy page that’s “SOLD” out. Everyone somehow talking about chroma-keys, as if that mattered. For better or worse, if it wasn't fashionable Okiishi producing these, no one would care. Mauss and Okiishi’s desire for the possibility of new images seems deigned to expressing less a new image than the fetishistic desire inherent in images, a sexual teasing of images that of course leave you firmly blue-balled with cash in hand.
The spoons are an interesting nice gesture but feel more camouflage for the exhibition of last year's hot tickets sold once again.