Wednesday, November 8, 2017

if you're Xeno-phobic, get the %$@#$%@#$% out of here!!!

it's been a while since Magoo posted awesome new music, thanks guys for sticking around! this isn't quite transcendental national socialist black metal but it's havy AF. it sounds like synthesizers or computers were used in the production of this tune. I like it a lot, it's timeless and pairs nicely with my inner darkness. *sound ON* ;-P

Sunday, October 22, 2017

this man had unconcern gal sex with m

it was 2012 and C Ro++++++z told me "hey I can walk you to the subway if you want " and I felt they had power over me so I said ok I guess and they said are you thirsty and I said well yeah i guess cou ld have a rink  and they said well ok how about this one and I said ok yeah i guess and then i remember and thn
º¬end of transmission………¬


m    y stern of gas chamber rose bbuuuu  auuguhhhhhhhhhhhhhhhhhh d 














TZK lets me review all my


before they are



my mom pays for my

ahhhhh auhhh ugghhhhhhhh ghahsfhsdhjkfsahkjfdshkfsdahklafsdhjkfdsakjfdshfdsakljfdshjhjk 


ughhhhhhhh ghhhhhhhhuuuuuuuu

I'm on heroin

heroin is really intense

Review: on jill mull heady at Kunsthalle Bern

Jill Mullheady's exhibition at Kunsthalle Bern set the tone for the surrealist moment we are going through right now. If you have anything to do with art, you know it's on, and you know it's time to get into the market. take action today with solid work that offer solid upmarket possibilities and will offer good return on invest ---- ah shit--- -ment. 

Texte Zur Kunst is a really good magazine

Saturday, May 6, 2017

Heji Shin at Real Fine Arts

The end of any year brings the same old habit of reflecting upon the past, the present and the future: what happened in our lives over the past year, what is to come and what we will gaze at into the future.
An exhibition of Heji Shin’s new works that opened in the last month of 2016 couldn’t have found a better time to be shown. These works mainly depict the emblem of future - newborn babies. Yet Shin’s photographs do not entirely evoke the emotionally charged topics that circle around when you think of babies.
Seven close up photographic images show the very moment of a child’s birth. By focusing on the head being pressed out of the vagina, the images do not show much more besides this first “act” of birth. Crumpled little heads covered in a mix of human discharge–especially blood and shit (and whatever else comes with it)–are the center of the photographs. Some babies are still strangled with a hand or the umbilical cord, some are screaming directly towards the viewer, but all babies have their eyes closed– none of them have ever seen the world around it yet; and especially not the artist’s camera! Just imagine if a camera was the first image you had of the world–a monstrous object rather than a smiling face? But the camera and the photographer think the same as they examine the babies: what is this new weird looking alien?
Every context of the situation is cut out. The background becomes is a blurry, dark undefined substance and there are no other disruptive elements that would give us a glimpse of the surroundings. Sometimes you see a bit of hospital inventory, but most of the time you don’t even see that much of the women’s body parts giving birth. The immediacy but also the estrangement of a child’s birth is aligned with so much orchestration, an almost magical description, while the true event is long, hard and disturbing. Shin knows a lot about this now!
Whatever is created and comes to life–it’s a painful event, bloody with images of dysmorphic body parts and far away from a cute little nature around the baby cult and their hetero normative family constructions! While obviously still being intimate due to its subject matter and the specific angle the artist chose, Shin’s photographs focus on a different aspect. They don’t fall into the trap of emotional overload. If one listens to birth stories that range from “I thought I’d die” to “the greatest trip of my life”, looking at these works by Heji Shin evoke completely other thoughts, since nothing of the above mentioned can be subjected to these photographs: the women are not the subject here! With an extreme directness, the little heads almost jump into your face. The colors of the photographs are not much more processed than the actual situation at hand and so the works become a very bold statement of “reality”. The photographic subject we see here cannot be staged or interfered with. Especially when the production must consider that being in labor can take up to 8 days with a lot of waiting, but the whole shoot only requires one minute or even less to get a good take.
Due to their reduction and the chosen close-up angle the images confront the viewer with a disturbing mix of voyeurism and intimacy.
While only hearing about Shin’s endeavor during the months of production, I always imagined the images to be way more brutal and violent. The works that one can see in the exhibition still are quite aesthetic. The color scheme and compositions of focused/unfocused parts are very defined and strong. It clearly shows that the medium is not only “a” message but its also the medium. Shin works as a commercial photographer and is used to dealing with “difficult models”. The photographer’s eye completely guides the viewer and won’t give him the chance to get lost in too many details. The images follow some hidden rules of composition and placement. Of course while the usual retouches have to be made, the works still operate on a level of a public realness. Displayed throughout Real Fine Art’s gallery space, they leave enough room given the selection is very much singled down and directed in such a way that won’t give too many chances to shy away!
Also on display are three installations of colored plinths that are building rather the opposite of the described above. Greeting the visitor at the entrance of the exhibition space, they show playfully arranged objects and paraphernalia. In a mix of fetish sex toys, children’s toys, decorative porcelain figures, all three sculptures are opposing the strong and direct imagery of the photographs. These works are the only titled works you’ll find in the show. While the photographs are just strung together as Babies 1-7 you find an Italian Vendor or a latex butt that greets you with a Good Morning America. One sculpture is still untitled. These titles give some hints about the direction they want to be thought about. Where the “In Your Face”-strategy of the photographs doesn’t really need titles for explanation, it’s a helpful guide for the sculptures to connect. The first assemblage on a black plinth is arranged with a little puppet sized wheelchair and a plastic toy goat that is pushing the chair. The goat wears a funky fedora and is attached to the wheelchair where a small b/w picture of Osama Bin Laden is pinned on its seat. On the second plinth, that is painted in a red color, one finds a latex butt that is in fact a real sex toy, decorated with cigarette ends, an American flag stuffed into the butthole and a fried egg on one butt cheek. For the third installation, the artist used a white plinth with a scene of two Italian lookalike porcelain figures lying/standing on a wig, one covered with a condom. The kitschy campiness of the installations is inevitable and a bit silly. But with this little foolish wink they comment on more or less recent political events of our time with a punk/pop/camp like gesture. The humor that comes through is a good and welcome balance to the boldness of the photographs. Completely revealing their playfulness and even silliness, the sculptures can all be associated with the areas of sex and domestic life. Therefore they draw a line to the subjects of the photographs– even if this can be a stretch. Notably this stretch is a challenging one but even more important for seeing the exhibition as exhibition. Particularly this balance that is created in connection to the sculptures is likely to be needed for the whole–even if it’s clear that the photographs stand out!

Reproduction mostly serves the purpose of people’s desire to become immortal–since it can be understood as a egocentric reflection of the self. Therefore we can also question the idea of the ideological use of the baby. Here the baby as the outcome of a hetero normative family conception is especially in question. In a city like New York creating your family can’t be a “natural desire” anymore but has to be considered as some kind of “luxury” as it even more starkly divides the society into rich and poor. But despite exposing the ideological subject of the baby, Shin’s photographs imply these thoughts on a very concealed level as they just refuse to sugarcoat! But on the same concealed level they can function as an examination and empowerment of the female body: the women who agreed to get photographed are in fact freeing themselves from embellishment and obfuscation. From a pure angle, which is the only view the photos are taking on, this is even more a feminist proposition without the necessity of screaming it out loud.
So especially with a female mindset it’s hard to separate the seen from one’s own body (the changes that it’ll be affected by and the physical and emotional pain that is involved with it). Since cis-male bodies are still not able to execute reproduction, their interpretation won’t underlie so much emotional empathy; the images of male birth giving is still exclusively reserved to the film industry–thinking about Ridley Scott’s chestburster scene in Alien. But asking for the reaction within men, there seem to be more an interest in the weird sensation of examining the alienating look of the babies’ heads and body parts and therefore the followed estrangement of how to relate oneself to the seen image. These works build an immediate gut feeling–whatever reaction comes along–you can be sure that there is one.

- Monika Senz 

Sunday, February 12, 2017

the demise of worthwhile art

Egan Frantz
The Oat Paintings 

5801 Washington Boulevard Culver CityCA 90232USASaturday, January 14, 2017–Saturday, February 18, 2017Opening Reception: Saturday, January 14, 2017, 6 p.m.–8 p.m.

5801 Washington Boulevard 
Culver CityCA 90232USA 

I met Egan Frantz at the Independent Art Fair. I introduced myself as a fan of his and Liz Wendelbo’s picks for Ubu web, which included Kurt Kren and Xenakis. From the get go I identified as the beggar with my hand out (like Brancusi to his patrons). My mom had forgotten to transfer money that morning and couldn’t afford the pricey art fair drinks and he got me a beer. He made a series of toilet paper paintings and eggshell sculptures. The literary reference interested me as we talked about Broodthaers. As I write this, I am once again the beggar claiming my month’s rent in exchange for this press release: three hundred thirty seven dollars.

He would eventually end up taking me to nice dinners and became a patron of my work. Egan and I would love talking about Kippenberger and Beuys over these dinners. Afterwards, we'd play with our balls, make them go around each other inside the scrotum—res novae—"new things" for us but also, a revolutionary way to fühl each other's scrotae. Kippenberger would flaunt his balls by carrying wads of little photos of his balls around and enjoying fancy restaurants and hotels, while Beuys was discreet, parking his Bentley down the road and hiding his balls inside a little hidden compartment in his brieftaßshchen on the way to the Fridericianum to say, “I’m a member of Green Party.” I think we both identified with the former.

Liz and Egan’s interest in experimental music and poetry was a bonding point, as we would talk about Dopplereffekt, Serge synthesizers and Jack Spicer. In a specialized art world, a proclivity to consuming all of the arts is rare.

“My vocabulary did this to me”. Egan believes that the linguistic is folded underneath the visual and he exploits our idioms for material experiments. Within the material, he mines the English language, our existence, to create this lyrical abstraction in substance ex nihilum. ”Man speaks” as Heidegger says. An inversion of Lawrence Weiner’s substance poems and wall-text didacticism. These idioms point to the fabulous theologico-political fables of post-secular expression: “pee” is for painting; “sowing his oats”; “full of piss and vinegar.”

Our deep upper-middle class lack of humor and love of all things German brings me to the legend of Cologne. Saskia Draxler would tell Egan the oats were reminiscent of Albert Oehlen and Kippenberger’s oat car, a joke about Anselm Kiefer. Carpenter would write his patricide of Kippenberger and explain the distinction between “bad bad art” and “good bad art”. Carpenter’s paintings (as Kippenberger) were too good so they had be trashed but before, seriously documented… Egan’s paintings are seriously performed jokes. When Egan showed with Nagel in Berlin and saw his paintings through the glass facade of the gallery from a bar across Rosa-Luxemburg-Platz, he saw new paintings, literally framed by that history, and had to contend with that. Maybe he’s advocating instead for “smart dumb” as the alternative to “dumb dumb” and “smart smart” as laid out by Ubu’s Kenneth Goldsmith.

Egan identifies as an amateur, plopped into a network of professional curators, gallerists and artists. The amateur loves crafts. When we did a show together at Kavita B Schmid, he quoted Blanchot on love and water in the title. Heidegger talks about handicraft in What is Called Thinking?For the carpenter’s apprentice, she does not learn the customary forms of the wood or how to use tools, but to love the resonances of woodness, the bringing-forth of these resonances. For Jean-Luc Nancy, art is “the productive technique of presence”, the act of bringing-forth guided by techne. These paintings make use of many faculties, social, historical, linguistic, all in all, technically skilled, to bring forth a complex matrix of loves around literary philosophy, literary high capitalism and literary professionality. - Mathieu Malouf