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And so if you close your eyes and project an image of what painting in the mid 2010's looks like, if one imagines the most acceptable form of painting today, you will imagine this exhibition we see here today: vague beautiful paintings installed with tender preciousness, privileging the installation shots, ashy greys and umbers, press releases written in flippancy, and and even, get this, a collective claiming its indifference to contemporary art while making the epitome of it. I know inhabiting the position of the dilettante is a critical position, and this really owns it.
see too : Fredrik Vaerslev at Centre d’Art Contemporain Passerelle , “Seven Reeds” at Overduin & Co. , Sophie Nys at Crac Alsace
