It’s Zobernig tar+feathering, Julian Opie’s picto-programmatic brand, and other iconographies existing in unplaceable cultural memory. But whereas Zobernig’s genericism was a deflecting form of critique, maquettes for his fictionalized art theater, Kaspar’s direct thefts of institutionalized styles is a reflexive and perforated form of identity, accumulating a piecemeal version, forming a pile of identity rather than a package, to be sifted through rather than consumed, objects which will never become whole. The new puzzle form of art’s conceptuality.
See too: Jana Euler at Kunsthalle Zürich , Annette Kelm at Gio Marconi , Heimo Zobernig at Petzel, Krupp, Mudam , Matthew Cerletty at Office Baroque
