Los Angeles

Christian Jankowski

Regen Projects

In his 1940 essay “The Fall of Paris,” Harold Rosenberg lamented that geopolitical maneuvers, rising nationalism, and fascist aggression had brought about the decline of an almost-levitating capital of modernist culture—once an international “No-Place” of multiple perspectives—and wondered where modernism’s new centers would be and what forms they would take. Surely he did not have in mind an after-party at the Art Basel Miami Beach 2008 fair or an army of Hula-hoopers, marshaled by a German conceptualist, taking up rooftop positions in Manhattan’s Lower East Side and Chinatown districts. But it is with just such antics that Christian Jankowski—an artist who is constantly searching for new moves to make, and positions to take, in the development of his idiosyncratic practice—brings Rosenberg’s line of inquiry into a current context.

Jankowski’s recent exhibition at Regen Projects II centered

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