Speed, passion , impossible, winning, Formula 1, Ferrari, Improvisation,

Result #1

vernacular, her, abstract, zoo, model, photographer, dancer, sketchbook, architectural, self-portrait, film, Autoportrait. Our neighbor to the right is a street-cuckoo clock. My favorite of the lot was a late-capitalist, go-go world that includes all, as if to say: Lovers are all the same.Thinking about this work, a viewer of passion might decide that he or she is more or less as perceptive as the nineteenth-century essayists and writers to whom he or she belongs. This is certainly the case with the art. In the world as seen through this show, the passion is a self-centered passion; for a visitor, the passion can be seductive as well as scary. The choice of a middle-brow art, which this show did not do, is disappointing. Perhaps it was an effort to be thoughtful, when the subjects of the paintings may not have been. Perhaps it was a series of provocative, tragic existential dramas to which the artist would have responded with the comforting knowledge that passion does not kill.But to acknowledge the passion does not mean to dismiss the paintings. Their beauty is not an elitist sentimentality. They are really a vision of life in art—of art as a sort of passion, of art as the passivity of passionate intercourse.

Result #2

 theres no way to become a champion and be honest and accurate, so youve got to make sure you keep playing and winning. Ive always had the same feeling, that my work doesnt make sense but is just sloppy.Its not like I want to be the first to try to do something bigger or better, which would probably fail. The work I love is just small, and thats what makes it so exciting. Its not like I want to be the first to make the all-inclusive statement about Art, like I want to be the first to make it into the world, the best work. The big impact of this is that it makes me think that you can do everything in life. Im sure Im not the only one who is conscious of the idea that you cant be everything to everyone.

Result #3

Speed, passion , impossible, winning, Formula 1, Ferrari, Improvisation,  explosion, and obviousness are the same things that in Perseverance, 2001, the contemporary artists work is targeted. At the center of the work, which resembles a small, cup-shaped window, is a circular black hole—like a hole in a blood vessel, but bigger and half the size of the smaller one. In the other works, the original was left in situ, with the seeds merely scattered on the floor, and they provided the atmosphere of a seed shop, or of a seed bank—genuine organic business, beyond the pale, yet one that has passed from the laboratory into the garden. We can assume that the seeds, planted in the spaces between the walls, will stay there for a long time, and will begin to age.The seed shop has been a recurring motif in Perseverance. The black hole has always looked like a black hole and the number 666, a standard symbol of destruction in Jewish mysticism, is repeated throughout the work. This constant, repetitive imagery—including a number drawn from the Hebrew alphabet, a black seder, and a man standing before a black screen—is reiterated in the show. The main work, by far, is an enlarged photocopy of a recent photograph of a certain grimacing man, who looks like he was born to a family of cannibals, the group that once terrorized Czech Jews. The photograph shows the man in an oven in which he has stored a huge harvest of apples. What remains visible on the other side of the door is a stack of newspapers, with the headline: Jews and Cannibals. What are we to make of the photograph, which is a record of the daily horrors of mankind? When one read the headline, one realized that we had to add to it: Death by burning, destruction by hunger strike, rape by drug, a black hole is full of holes.

Result #4

vernacular, Pop, motorcycles, music. A sentence or two could summarize all the key elements in this anthology, but given its focus it would be inadequate. Actually, its about all the art that might be thought of as explanatory; nothing has been thought of as explanatory. In this part of the show, then, art in itself is a positively interpretable subtext, but as a meaningful message it is hardly any more explanatory than anything else—in fact, it is rather less so.Philip Schneider is a frequent contributor to Artforum.James Millar is a regular contributor to Artforum.

Result #5

ikebana, Picasso, etc., etc. as this selection of artworks represents a new, dangerous decline into the field of museum purchases. The show is so frightening, in fact, that one is left to wonder where one can leave criticism that is limited to the form of a huge, once magnificent, once oppressive, before being transformed into a spectator. Can the makers of the art object really be criticized for the hyperbolic presentation of their work? In any case, this exhibition clearly presents the final entry in the process of art in France and beyond. Next to this, we have the latest manifestation of the all-powerful consumer society, in which everything can be bought. We have chosen to witness the citizens of a globalized world as consumer objects, and that situation is increasingly less threatening. The image of the art object, however, is still the most frightening of all.