bad nasty stupid crazy low

Result #1

vernacular, and where the lyrics to the Brian Eno song of the same name seem all too conscious and painfully self-conscious about their artistic status as self-parodic enfants on a rock stage. Tuxedomoon, a painting of a womans voice and eyes whose meaning lies in what the title evokes is paired with a portrait of the artists husband, a kind of poignant repudiation of the all-too-human presence of the artist, by his wife.

Result #2

bad nasty stupid crazy low ?" and the contrast with other artists recent effort to express the experiential aspect of space-time and by extension of phenomenology.Taken as a whole, Sonniers show was, to the extent that it was a single installation, rather disheartening. Some works dealt with the classic tensions of space, time, and time itself. Often such as Time in Spaces #7, 2004, is accompanied by a text, both terse and sweet, that asks how much time we spend in a given space and how much we like to think about that space now. The words are in fact of the most interest for their usefulness as emotional and cognitive statements and then, in the case of Time in Spaces #8, 2004, they are also works of explanatory geometry: The words are all here, to be picked out. Some of the less surprising works tended to be more eye-catching. Time in Spaces #9, 2004, for example, a gigantic spinning ice-skate with a scythe of wood extended by a string, and Time in Spaces #10, 2004, a cutout painting in which the condensation of the air is mirrored, add up to an interestingly baroque virtual landscape.Sometimes the links between the works were opaque. Time in Spaces #14, 2004, for example, evokes a view of central Paris as a flying saucer. The moment one turns away from it, a photograph of a giant balloon that goes on to suggest that all good things are possible—but we get nothing of the sort. Similarly, if Sonnier employs the scythe as a kind of gun, shooting the set of the globalized news-magazine newspaper to produce a pin-ball image of the chaotic sub-communication that is both global and domestic, he makes the idea of a universal access to information a little more explicit.

Result #3

vernacular is precisely where the Woodstock 6 seem to want to be. For those first moments, being in the other side of the metal fence is really not that bad. It turns out that the art is a lot better.In the end, Woodstock really seems to have had more to do with the 1980s than he does with Woodstock 3: back then it was possible to get into a few nights of free rock n roll and do a couple of negative things, as in the Rolling Stones/Stereos condition, and today its a lot harder. Its the old dilemma, if not really news, from the other side of the pond. In 1975 the artist was arrested for rock n roll, but the same press coverage made it look like a shit show. In a different time, I could get into a few nights and do some damn things. I mean, lets face it: we all think in retrospect and decide, were fucking done! So fuck it. Some times I hear artists talking about their hippie days and all, or about going in and making art. These days, if you dont feel like selling your soul, thats the worst thing you can do.Samantha Masucci is a musician and a critic.

Result #4

bad nasty stupid crazy low ics.The earliest painting, The Jewel, 2006, shows a sort of two-headed figure, and in the work Going in the Right Direction, 2008, it turns out that the figures head is a frog. In The Jewel, however, it is in the same vein as in C-prints that predate the photograph—the figure looks as though it is out of place, but in the weird, weird weird space of a collage (made in a collage?) between two drawings, one of a bicycle, the other of a motorbike. The accumulation of punctures in the drawings are drawn out with painterly marks (probably the efforts of the subjects) and the fact of the inevitable fractures of the printed image leads to yet another of the new new things: the illusion of being upside down. This claim of significance is validated, though, by the fact that a male figure inhabits the image as it has been over the course of the exhibition. The formality of the composition and the fact that the figures head turns up in the painting like a crude banana peel suggest that it may be a transvestite; the anthropomorphic references, though, may be as much the result of a childs body as a masturbatory head.A second, much larger work, The Giant, 2008, shows a female figure of a headless and half-transformed body, her left hand holding a set of scissors. The figure is flattened and given a rather harsh transition of being male, as if to signify that these people have become the art of the beautiful. The headless body has become a perfect mask for the female body, masking it with a knife. There is an obvious irony here: What else is new about her (the artist?) in a medium that is arguably as old as history itself? The magnifying glass, which we see plunging into the body as if through some magical abyss, might have been a sort of mask, too.

Result #5

icky son of bitch, youre on your own there. The ultimate emptiness of the work is that nothing could ever happen, and the work can be considered as an examination of the horizon, the distance between a statement and an infraction. The piece was as prescient as any statement the anti-art was making at the time, and without it, we would be without the hesitation over whether what was being analyzed and condemned was cultural or criminal. The only objection is that it wasnt very different.