(link)
The PR, in one paragraph, describes well how the things function; Kelm's practice has narrowed slightly here, removing its expansive and dissonant genres eluding easy art-practice circumscription, the landscapes and genres etc.; this exhibition honed to icons, which are sharp, what would be called "striking" images of the advertorial, direct, but when they fail to deliver anything on that promise of a striking image, fail to reveal anything at all, what the PR calls "demonstratively unspectacular productions" feels not only dissonant, but depressing, like you're complicit in something you never meant to be. This is what makes them equate with commodities.
see too: Annette Kelm at Gio Marconi, Adriana Lara at Algus Greenspon
