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Like the previous empty negatives of industrial cut outs, hollow forms that speak to both specificity and vacuity, that old modernist tension of simplicity and its ability to strike, that has come to be mocked by so many so well able to perform it a zesty stupidity, Zobernig, Lili Dujourie, Armleder, Levine, etc. etc. Modernism was obviously absolutely vampired by the production it pathed until it became cheap clad chip-board flat-packed and distributed to the point of annihilation, everywhere, insidious, today represented by its most terminally numb forms. Wresting just one more inert but definitive object from it is the ongoing joke.
See too: Heimo Zobernig at Kunsthaus Bregenz, Heimo Zobernig at Simon Lee, Heimo Zobernig at Indipendenza, Heimo Zobernig at Petzel, Krupp, MUDAM
