“Die uncannyness der aktuellen Arbeiten mag mit den Gefahren emergenten maschinellen Bewusstseins zunächst wenig zu tun haben. Doch wenn Groebels Technik verglichen mit jüngsten Entwicklungen im Bereich der künstlichen Intelligenz auch harmlos wirkt: In der Malerei seiner Apparatur, die wie von Geisterhand Stifte führt, verbinden sich Mensch und Maschine auf frankensteinhafte Weise, suggerieren im Rekurs auf Historisches eine Untersuchung heute höchstrelevanter technikethischer Fragen.”

“Repeatedly, we see her wading through meadows, tall grass, and cornfields. In some scenes, they have been rendered pink in postproduction, and Gut picks her way across the vividly colored vegetation with a tottering, sleepwalking gait, as she no doubt once sauntered through the Dschungel on Nürnberger Strasse.”

“Was sich in den KW gut vermittelt, ist die Rasanz, mit der Majerus zwischen disparaten Referenzräumen zappte, wie er sich, angetrieben von der Aufbruchstimmung des Digital Turn, durch die Welt der Zeichen bewegte und sich überall dort bediente, wo es ihm spannend erschien.”

“Hall’s Burning TV employs the basic principle of mise en abymewithout playing it through: Instead of having us look into the abyss of infinite repetition, it features a fire on a screen within our screens, ready to propagate from an absolute reference point into infinite expanse, as if to illustrate the simple fact that all the actual and metaphorical fires on our screens transgress the bounds of their media presence.”

“Hin und wieder hat man den Eindruck, ein Schleudertrauma habe die Bildelemente durcheinandergewirbelt, sie derangiert, disloziert. Wie das Rhizom oder die Metropolregion Rhein-Ruhr verfügen Peppi Bottrops Bilder über kein eigentliches Zentrum – je nach Betrachtungsperspektive kann es überall und nirgendwo sein.”

“Digital technology and indistinct copy-right laws have set off avalanches of artistic appropriation. But amongst bouts of nostalgia, bland remakes, reenactments, and reconstructions that mindlessly rehash old formulas and found objects, Guyton’s work stands out as a subtle reminder of the uncertainties of our time.”

“To Badiou, true black is radical and, as an antidote to the white flag, always a call to action – not in an ideologized sense, but in an inquiring one. That is what accounts for its brilliance. However, much like the blackness in Soulages’ paintings, his philosophy of truth feels incomplete, as if to say: “You who see me without seeing anything, go on!”

“The good life is elusive, yet ever-present. It’s a sales strategy. A commodity. A challenge. Many times, it’s a misunderstanding. And sometimes, an outright hoax. Coca Cola keeps telling us that life tastes good; and despite alternative nutrition facts, Dr Pepper claims to be good for life. The good life, or the lack thereof, is the stuff of movies and an all round hashtag on social media platforms, where it comes in the guise of sportscars, great danes, six-packs, and avocado-toasts.”

“The scenes in Wangechi Mutu’s collages work may be out of this world, but they point to its most pressing problems. Acting like paper-made protestors, their curious protagonists accompany the artist on her combat mission to examine well-established hierarchies and challenge predominant power structures. As members of Mutu’s army, they fight in the front ranks for women’s rights and stand up against social injustice.”

“There is something about Carhartt’s down-home, sturdy cuts that embodies in every seam a deadpan nonchalance about fashion. Ironically, it is exactly the aura of not giving a damn that turns garments into icons. Take bulky Barbours, battened fly jackets or Tacchini tracksuits. Some of the strongest styles are those that don’t seem to care; that are made for one market, and adopted by another; not tailored towards the so-called tastemakers, but taken over by them; that remain unsolicited, unruly, rich of cultural contradictions and cross-references.”