ditte gantriis

ANDREW BIRK ON: Everything is connected - Green is Gold at Neter Proyectos, Mexico City

Work by Ditte Gantriis, on view at Neter Proyectos.

I’m at Everything is Connected, the first show in Neter’s new space, curated by Danish run GREEN IS GOLD (Green Is Gold Studio), being nourished by its cool and seductive materiality. Its a suitcase show (that doesn’t feel like a suitcase show) which deals with modernism and minimalism and my cliched imagination of the dryness of Scandinavia, but its certainly not pinned down by these things. 3 meter celery green rubber exercise straps that “smell like condoms,” powdered and stretched taut over aluminum pegs, last minute painted white plinths, white plastic maskingtaped power outlets and construction holes ugly on the walls, sputtering electronic sludge, iron-dyed black pools, a lot of breathing room, rivets, "elements huckleberrying,” a video of a woman, mouth open gasping like a fish. All the colors are blueish and greenish and a bit bled out, like looking through a lead glass window in the countryside. You are reminded of a Lars Von Trier film, reflective black surfaces, images wheat-pasted onto uneven surfaces, corners peeling off. You imagine seeing this show professionally photographed under fluorescent lights on the splash page of the MOUSSE MAGAZINE website, except that it’s here in Mexico, in an expansive concrete school yard, clinging to the edge of traffic and smog. The door closes to Kanye’s “Bound 2,” a weird projected landscape of merchandise unfolds. A siren passes by, a line of ultramarine blue pigment rubs off on your finger, a large-scale photocopied triplicate book cover blows out into the whiteness of the overspackled wall. Art should take any element it sees fit and construct a world of itself.

ANDREW BIRK

David Stjernholm

Ditte Knus

Kevin Malcolm

Amalie Jakobsen