“Water & Power” at The Underground Museum

(link)

by which then us feeling art's critical function better at surviving commercial shipment while the spiritual arrives less intact. Like preachers made richer than the Gods they represent through the thankless loaning their congregation's credence, the Eliasson's "worth" for reinventing the funhouse as some sort of ecological imperative could beget an equal crisis of faith. Particularly when the package is the world outside set in a different box. A critique of any art surely. Maybe the wealthy preacher is just really good at what he does, attracting congregations. But somehow the spiritual should survive in commodification, everything else must. Seemingly why we gave up on it.

Manuel Gnam at Noah Klink

(link)

or the couple of Gnam's press releases invoking generational clashing and the cultural culling of those without political use make one wonder if these aren't, comedically enough, Gnam's attempts at proving himself a viable artistic candidate for cultural preservation. Which would make them funny. To think of these as attempts at cultural relevance. At some point we did adopt demands for art to prove its usefulness, possibly through the seepage of cultural theory into it, art was suddenly to be extracted for some sort of insight we had, tautologically, proven was there. We believe in art's ability for insight into, well, something, that when the above is delivered to us, we choke on our inability to read it, we choke.

Ramaya Tegegne at VIS

(link)

or that history is a process of consolidation, the enclosure of rectangles around its boxes, the eras vogues histories artists etc. the little territories as blanket of wares meaning Artistic turf that Tegegne attempts to keep frayed with discombobulated exhibitions of historical process's detritus, found appropriated and reproduced, as palliative against, or occasionally with, art's boxification - forcing what would be left behind in the move back into the box as her career.

Glenn Ligon at Thomas Dane

(link)

or that painting something white would restore it, return its virginal character, but talking of blackness as an accumulatory inescapable, occluding, the eclipse on legibility and meaning, but then in there, on it, the occlusion itself, blackness. I guess you could make the arguement that Ligon isn't once again destroying' the legibility of Baldwin's text but restoring it, bringing it back to its blank pure slate.


See too: Glenn Ligon at Regen Projects

Art Record

We all believe in arts' ability to supersede the market, to transubstantiate its commodity into a spirit, but realists too. You need to keep your objects separate from the order of the ordinary, of the things yours could suddenly disappear into, the earth, you need tracking, spreadsheets, the markers of provenance that govern the validity of art. So we've developed a product for those without a gallery to aid such immanent concerns extracted from theirs' celestial. Eventually a gallery will do this for you, but for now, adopt the future, dress for the job you want, tracking product, rep, failure, success with this handy - and award winning designed - tracker for what you value as your life, us too. 

-CAWD

(Sponsored)

Torbjørn Rødland at David Kordansky

(link)

or meaning innuendo can only circle its prey for so long before we can infer its total, it is no longer suggestion but fully encircled into the arena of practice for a well thought circle or rut.


see too: Torbjørn Rødland at Air de Paris, Torbjørn Rødland at Henie-Onstad Kunstsenter, Torbjørn Rødland at Kunsthall Stavanger

Past: Torbjørn Rødland


"The PR’s refusal to acknowledge the sexual themes leaves the perverts guessing. Erotic coupling, miscegenation of binary masculine/feminine, phallic/soft. Everything touching, lightly.""...posing problems for categorical restrictors like the MPAA for which Rødland presents a real European nightmare, Most of the photos are G or PG but feel PG-13, and while the penis is R it’s the sneakers on the otherwise nude man that really require Parental Guidance."


Torbjørn Rødland at Air de Paris
Torbjørn Rødland at Henie-Onstad Kunstsenter
Torbjørn Rødland at Kunsthall Stavanger