Sandra Mujinga at Hamburger Bahnhof

(link)

Horror is implication, suggestion, threat. Which makes it perfect foil for art, which must perpetuate endless affect. Horror must eventually reveal its monster, but art can go on interminably delaying its reveal. Because art only need be a throbbing box, a tell tale heart for our guilt beneath the floorboards. 

See too: James Bantone at Centre d'Art Contemporain, Pope.L; “Beyond the Black Atlantic” at Kunstverein Hannover (Sandra Mujinga), 

Sandra Mujinga at The Approach & Angharad Williams, Mathis Gasser at Swiss Institute

(Approach, Swiss)

Remember S.O.A.P.Y? Remember Cameron Jamie? Sturtevant's carnival. The haunted house's continual slow rising but never quite crescendo. (It has to remain lo-budget somehow, for fear of turning to full amusement park.) Object's Friedian presence amped to hyperbole, almost comedy, but these don't seem intent on funny: the camp relief valve, that laughability post spookability, doesn't seem here. Good art is said to haunt you, and so maybe it's brute force attempting that. 

Past: Mathis Gasser, Sandra Mujinga

“Beyond the Black Atlantic” at Kunstverein Hannover (Sandra Mujinga)

(link)

The design that inflects a character. Supposedly people booed the first big screen presence of Darth Vader, his mere appearance made his operatic badness understood. The clown is scary because his costume signals that he isn't structured, social codes are not his, the clown is above law. The cues that speak to the inhuman.