Trisha Baga at Marta Cervera

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A genuine gesture to provide the 2D version just to really prove you're not seeing the 3D version, evidence of your distance. But providing the crappy version at least tries. Maybe you've got your own 3D glasses at home. 

Leda Bourgogne at Jiri Svestka

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The PR, which turns todays art buttons into a machine gun hail of bullet cover, is perhaps more interesting. All of art's terms somehow loaded into its clip, the first paragraph: "complex installation," "allusions of historical painting," "meticulously built,"  "assemblage," "power relations" "contingency of identity constructions", "objects as suffering non-normative bodies," "thematizes," "objecthood of the image," "fetishistically,""the subconscious" "pointing out power relations" "multiple levels of affective" "between"x4 "constant shifting of focus."

The second paragraph begins with our guy THE DANDY. This should be horrible but somehow it's not, it's too much fun.

See too: Leda Bourgogne, Ida Ekblad at Kunstverein Braunschweig

Cady Noland at MMK

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The means through which we connect. Noland's inventing then what has become widespread today, an archaeology of modern society in art poetics, using objects to denote the human. These things were made for us, they are evidence of us. Turns out the poetry of the modern world isn't pretty, but instead a lot of connections through galvanized steel.

Ulrike Ottinger at Kirchgasse

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If Matthew Barney somehow didn't know of Ulrike Ottinger's oeuvre then a medal is in order. Others have made the connection in terms of gender, surrealism, mythos, which is accurate if vague horoscope retro-prediction. But the more distinct fingerprint lay in Ottinger's use of the promotional still image as a mode itself, able to connote and transact meaning equivalent to the film, a received token with through which to speak, a common communal currency. Barney had to have known of this when he turned the promotional image into a metastasized hypertrophic version involving stylists, lighting and image consciousness to an extreme, into basically Levi's ad campaign of artistic hubris. Cremaster succeeded, regardless any filmic merit, on its ability to manifest excitement and intrigue as a promotional vehicle, a cultural mythos that mirrored the mythos within. At the time you could almost talk about Cremaster without having seen any of it, the image was so omnipresent. Seeing was of less import than having being able to have an opinion and know of it. Having gained traction ever since, this form of promotional vehicle cannot be understated in importance post CAD/insta etc. when pipes and what they can funnel is tantamount.

Erin Jane Nelson at Atlanta Contemporary

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As the cultural detritus of artist's childhoods coagulates as surrealist irruptions, we become evermore surveyors of trash, the unconscious waste of time. That which sinks to bottom, the marine snow of populist energy discarded. Stuf. Culture is automatism, and artists become the process of its barnicalization.

Angela Bulloch at Simon Lee

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As movements and their banners fade the artistic remainders, no longer surrounded by their fanfare, makes apparent all the mannerism. What conceptual premise even was there against a blinding stylization? Why were we into the ephemera of design projects? The the final 2008 trumpeting of its moment now reads as literal explanation, theanyspacewhatever. And all the critiques reacting and filling the vacuum, Bishop's antagonism or Scanlan or whatever. The work has aged horrifically. And as much as the now any space - devoid of its party - showcases all its vacant stylings for said party, it is also perhaps that our current moment, dominated by the circulated image (and its ability to be read immediately) as tantamount makes these images appear vacant, that 2008 was perhaps the last gasps of when theory, academia, Artforumal banter, or any sort of thought outside surrealist imaginings had some sort of sway in art, filled the air with chatter, a lack of which now make the past appear vacant because we lack chatter.

Luís Lázaro Matos at Project Space 1646

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It would seem that no amount of thinking about alien life could release us from any sort of anthropocentric prison. Thinking about aliens, we design childhood bedrooms by accident.