Richard C. Rhodes

  • “Enchantment/Distrubance”

    Group shows have until recently often functioned as critical exercises, a gathering of works to illustrate a text. But exhibitions such as Jan Hoet’s “Chambres d’amis” or Kaspar König’s “Skulptur Projekte in Münster” have shifted the premises away from thesis-oriented criticism to a more open-ended structuring. These shows operate under casual guidelines, while text-based exhibitions are left to deal with the fact that contemporary criticism and art are operating in a booming, pluralist, noncritical art scene. This is a context in which implicit promises of authority don’t travel far.