Tobias Spichtig’s work has the appeal of pop music—that’s why I’ve always liked it. It oscillates between trash and glamour, allure and repulsion, emotion as mere effect and—crucially—flashes of intimacy and honesty that appear almost as if inadvertently.
Matti Braun goes to great lengths in order to fold many subnarratives into his hermetic-seeming works. But maybe their true merit is that they themselves fold into repetition as a cultural practice, where the transcontinental references are flattened, creating objects that escape hermeneutics but lend themselves to aesthetic asceticism.
Considering Ruggeri’s belated detour into contemporary art via fashion, it is useful to note the correspondence between the readymade and ready-to-wear in terms of the production of images in the present.
Sam Lewitt gets excited by the type of work that introduces problems into functional referential systems. His practice revels in intellectual acuity, cruising nimbly over a prickly theoretical pond while embedding a ceaseless chain of nods that he mediates by unfolding problematics of display and circulation. In DREAMBOAT DIRTBLOCK, the artist’s sixth solo show at Miguel Abreu Gallery, New York, Lewitt investigates both the fantasy of a never-built cruise ship as a diagram of forces and a model of desire associated with leisure, and sheer physical labor as carried out by an earth block press.
I’m interested in an autonomous performance, engaged with movement and space. I’m also attracted by the memory of the body that stays with the textile. Known ready-made materials meeting fleeting gesture.