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People hate Fontaine. It's easy to see why, and a particularly searing example writ by Chris Wiley for Frieze (and which contains the line, "I also consider the mealy-mouthed, jargon-besotted forms of this political position’s promulgation – utilized by the editors of Tiqqun, Fontaine and others – an impediment to reasoned debates surrounding political change, as well as a crime against language"- a single sentence in an unending screed against the work) is the front and first review of one of Fontaine's gallery's press packet on the artists. Its use as introduction is exemplar of the artist's grandstanding the impotent and hollow feeling of political ineffectuality as big shiny horrors, the work performing double negation of art/politics that other Ready-made-artist Reena Spaulings was at the same time performing with equally thick hams skated on conceptual packages, but whereas Spaulings inflated the low quality hamminess of its art Fontaine used language of the mignon sort to describe its cleverness in being sable to derive new formulations of evacuation and ineffectuality that pretty much every artist had up unto that point been, thinking they were smarter.
See too: Claire Fontaine at Galerie Neu, Sturtevant at Air de Paris, Group Show at Bortolami and Galerie Neu
