And for pocketchange you will violently damage Painting (if only the L.Y.Canvases nextdoor got spun out of existence)! For that lowlowprice, there’s a fragmemory of an off-duty-dancer’s-dedication-to-friends-and-form story to keep you in the room. Hey ArtConsumers, DumbDumbs bending over pitching quarters into a badly Sawzalled holeinthewall, debased to the level of LIVEperformer, who has abjectly (and in verycloseproximity to the BluestChips) extruded her LIVEbody through the cunty needleye of narrowly escaped Context for your benefit it’s supergenerous of her and she should be thanked. Sarah Michelson (David Zwirner, New York) A game’s a game! Performance view, David Zwirner, New York, October 2021. Despite its repeated “failures,” and humanity’s ongoing cycles of folly and tragedy, the courage to reimagine our material world is exactly what I’m craving in art these days. It conjured the utopian feeling I had as a student learning about modernism. While the rivets, hinges, and playful tension between structure and fluidity are all characteristic of Diane’s work, this piece could have appeared onstage in Oskar Schlemmer’s Triadic Ballet (1922), during his Bauhaus tenure. It reinterpreted the former Saint Paul Women’s City Club building in Minnesota as an architectonic ensemble (actually worn by performers!). The highlight of “Point of View,” her show at JTT, was Costume #2 (Architecture in Motion), 2019. Although our sculptures could not look more different, we share the practice of extensively documenting the built environment while traveling, later using it as source material. I have always felt a strong affinity with Diane’s work. In an age when swarmbots are ruling the internet and algorithms determine social norms, this exhibition feels more like a rendering of today than a sci-fi imagining of tomorrow.ĭiane Simpson, Costume #2 (Architecture in Motion), 2019, perforated aluminum, copper, vinyl, felt, rivets, 57 1⁄2 × 54 1⁄2 × 28 1⁄2". (In fact, Giger’s extraterrestrials make me think of the surgically enhanced Croatian beauty blogger Neven Ciganovic, who aspires to look like a male Bratz doll.) Putting these artists together, as curator Agnes Gryczkowska did for this presentation, was a stroke of dark genius. Giger’s hypersexualized 2- and 3D depictions of alien beings, seemingly primed to simultaneously kill and fuck with their arched backs and sinewy bodies.
South Korean artist Mire Lee’s sculptures-corporeal entities made from a system of tubes that pump viscous liquids colored a sickening shade of Kardashian “nude”-appear as though they are on permanent life support. Giger and Mire Lee (Schinkel Pavillon, Berlin)
Giger and Mire Lee,” 2021–22, Schinkel Pavillon, Berlin.
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