Peter Bradley at KARMA

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Painting like a trap for accumulating ... what? Not content precisely but something we might confuse with it. Painting like a trap fo accumulating our heads. A retainer for mental projection, light.

Group Show at Antenna Space

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Thing becomes stuf. Stuf become our thing, a movement, today in art the object is animate with Kristeva flesh, a new form of object that is no longer what you see because what you see is sexually confusing. Why does a couch look like a tanned corpse, why does our/ painting look like a redundant skin. The moment is marked! Question for grad students: Why are we attracted to this? 

See too: Anti-ligature rooms, OUT NOW!

Past: Fergus Fehilly

"Against everyone else's returns to modernism Feehily's could seem one more scuzz on the pond [...] Instead, perhaps like Raoul De Keyser, a mining for some odd uncanny version. [...] their off-elegance. Paintings like the underdog, we root for them. Like wearing [Modernism's] fur-coat with a runny-nose.

"in the end Feehily's seemingly less industrial more underdog engine may be no differently dead. "


Read full: Fergus Feehily at Misako & Rosen, Fergus Feehily & Günther Förg at June

Cristina de Miguel at L21 Gallery

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Binge and purge the cultural cake,  painting like "a dog having found the birthday cake to lay it out once again on the patterned rug." A painting barfs. No one ever needed to excuse painting excess. It's what we want. More. To get it and eat it too. But the consumption of painting is in reverse.

See too: Genieve Figgis at Almine Rech, Joanne Greenbaum at Crone, Joanne Greenbaum at Richard Telles

Past: Mathis Gasser

"Like taking sips from a firehose, Gasser's sampling of the deluge of images...using the fountain to make a construct-your-own-adventures storyboard.."

"The big dumb object is painting."

Mathis Gasser at Centre d’édition contemporaine, Mathis Gasser at Ginerva Gambino

Corinne Wasmuht at Petzel

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“in the era of the LED-backlit computer and smartphone [that] often engage with the kind of spaces and effects that the electronic screen generates.” Alas, as the same catalog admits, “what can be achieved today through painting looks very circumscribed compared to what is possible in other more immersive and interactive media.”

Like Julie Mehretu, Guillermo Kuitca, every tornado-hits-architecture painter, the question of "image processing" has been replaced by ever faster forms. Visual interest is now just a technological slider. "Vibrance" "Contrast" "Interest" "New Paintings"

Past: Shimabuku at Nouveau Musée National de Monaco 

"It's that Bas Jan Ader, Francis Alys sort of breezing conceptual art. Gentle myth making.  You glean as much, more, from the generous press text ... as the images, which in true poetical-conceptual fashion, don't mean much, but instead provides a lovely illustration. It's easier to recall a myth if you have an image of it. Recall a time when we had time for this."

Past: Shimabuku at Nouveau Musée National de Monaco