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verdur.in
Pierre d’Alancaisez (is) Verdurin
@verdur.in
130 followers 960 following 340 posts
https://verdur.in - cultural project and event space, concept store, and soon publisher in London. https://petitpoi.net - art criticism and writing by Pierre d'Alancaisez.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · Sep 1
Announcing: INVERSION, Gay Life After the Homosexual
Out 12 November. Pre-order now: buff.ly/cYWH4jK

With Blake Smith, Roger Lancaster, David Moulton, Stephen Adubato, Amir Naaman, Ran Heilbrunn, Pierre d’Alancaisez, Travis Jeppesen, Oliver Davis, Yotam Feldman, Marcas Lancaster.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 7h
of declarations made in a childish hand cuts off their maker from the past and their ancestors’ sins. “I am free”, it proclaims, staking a claim on history’s ‘right side’ and #kindness. Repeat these mantras enough, and the lie becomes art.

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Claire Fontaine: Show Less at Mimosa House ★★☆☆☆ - pierre d'alancaisez
Repeat these mantras enough, and the lie becomes art.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 7h
in lieu of substance. Their forms are easy to ‘get’ and their comforts compelling. Why, the covered the gallery’s very floor with hundreds of sheets from the Guardian, as though to elevate viewers from the plane of even that subjective reality.

But the show bestows freedom selectively: a series
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 7h
Courbet’s 1866 original.

Are we so lost today that we need to paint over the man’s jest, twelve times, and call that an act of extra-special feminist reclamation? Claire Fontaine – the duo behind the FOREIGNERS EVERYWHERE neons, which inspired last year’s Venice Biennale’s title – opt for memes
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 7h
component – the neon FATHERFUCKER, hung in the gallery’s window – upsets absolutely no one. Still more disappointingly for the emotion-seeker, a series of commercially produced copies of L’origine du monde, adulterated by the artists with bright spray paint, lack the frisson to add anything to
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 7h
notes and notices: Claire Fontaine: Show Less at Mimosa House ★★☆☆☆

The declaration, forced on visitors at the door, that this “exhibition contains distressing content” as good as guarantees that it doesn’t. Show Less purports to subvert the politics of visibility. Yet even its most ‘shocking’
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 11h
Trending.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
The human mind is mimetic – all art is representation.

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Theodore Ereira-Guyer, Jandyra Waters: We Lost Lots of Beautiful Things at Elizabeth Xi Bauer - pierre d'alancaisez
The human mind is mimetic – all art is representation.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
where there may be none.

Continuing consistently across the show, this game of mix-and-match throws any one-to-one mapping into doubt, only to reaffirm it. Ereira-Guyer’s tribute is, therefore, a kind of unconscious ‘abstract plagiarism’ endemic to all painting.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
Some of Ereira-Guyer’s pigment and cement assemblies pay homage to Waters’ canvases explicitly: one glossy mess of corrosion hangs under a patchy oil pill, for example, as though in continuation of the same thought. Other pairings diverge from this pattern, only forcing the eye to draw inferences
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
shared a language. The two have not met, yet this four-hander tricks the viewer that Waters’ oils – in their serial form reminiscent, perhaps, of Etel Adnan – and Ereira-Guyer’s plaster and coloured glass etchings – downstream in design from Anselm Kiefer, say – were made by the same artist.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
notes and notices: Theodore Ereira-Guyer, Jandyra Waters: We Lost Lots of Beautiful Things at Elizabeth Xi Bauer ★★★★☆

If mimicry is flattery, then the late Jandyra Waters’ 1980s abstractions found in Theodore Ereira-Guyer a dedicated admirer. The works share their size and palette; the painters
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
Where are the “esoteric rituals” and “emotional pain”? What would it take for art to look like something, anything once more?

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Nicola Singh: Sincere Seeker at Cubitt ★★☆☆☆ - pierre d'alancaisez
What would it take for art to look like something, anything once more?
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
than a little incongruous. White ink prints of the plush toys on black paper, resembling the patterns a half-exhausted roller brush leaves on a bathroom wall, bring no explanation.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
consideration of its essentialist claim.

An improvised mezzo-soprano soundtrack half-intently emanates from the sculptures, bringing, as Singh’s practice often does, more claims on cultural signifiers. Those make the fact that the room looks like a wedding cake shop at the end of a busy week more
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
the see/hear/speak no evil line-up – in plaster resin, modelling them after a toy family heirloom. This somehow shows, in the curator’s words, that the artist’s heritage gives her some special relationship to this visual maxim. It doesn’t, of course, but the work’s too dull to invite the
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 2d
notes and notices: Nicola Singh: Sincere Seeker at Cubitt ★★☆☆☆

The phrase “vocalised gibberish”, which features in this exhibition’s introduction, is a depressing description of contemporary art’s penchant for the exotic evacuated of any aesthetics. Singh casts three toy monkeys –
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 3d
I was greeted with verbal 'content warnings' at two commercial contemporary art galleries today. I sighed, but I get it, of course: it's easier to tell visitors that the work "deals with complex issues" than to make work that might.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 6d
Amir and I spoke to Jack Jewell about the ends of homosexuality - and the forthcoming publication of Inversion: Gay Life After the Homosexual.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 6d
There a couple of spots left on our philosophy of history course.
Join us for chaos, stasis, progress, and providence.

Fortnightly meetings start on 28 October.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 13d
With J.F. Martel, Quentin S. Crisp, Jack Hunter, @petersjostedth.bsky.social, and Daniel Corrick.

📅 8 November, 2–6pm
📍 Verdurin, Hoxton
🎟️ buff.ly/7dJKHVp
Back to Haunt Us » Verdurin
How do we accept the incompleteness of the universe itself — not merely our limited knowledge of it — without becoming lost in the arbitrary nature of meaning?
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 13d
Coming up at Verdurin: Back to Haunt Us - From the Supernatural to the Paranormal.

How do we accept the incompleteness of the universe itself — not merely our limited knowledge of it — without becoming lost in the arbitrary nature of meaning?
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 17d
not counting, that is, the machines in China which likely fabricated its substance.

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Sophie Huckfield: Lady Ludd at Outpost, Norwich ★★☆☆☆ - pierre d'alancaisez
Huckfield crowbars made-up heroes into past revolutions to pose as the saviour in the next one.
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 17d
The whole thing’s a category error; art’s gender and class projections occlude matters more tightly than the cloud. Huckfield crowbars made-up heroes into past revolutions to pose as the saviour in the next one. Yet she still needed the help of eight ‘workers’ to mount her installation,
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Pierre d’Alancaisez (is) Verdurin @verdur.in · 17d
hammers, offers zero insight. The verbiage in the handout – more laboured, sadly, than the artefacts – tries to intersectionalise the Industrial Revolution, proposing that Ned Ludd’s campaign against the Spinning Jenny might have been more successful had both of them come out as non-binary.
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