cologne

Reena Spaulings, Bonjour! 1–3, 2017, oil on Dibond and mixed media. Installation view. Photo: Britta Schlier.

Reena Spaulings

Museum Ludwig, Cologne

Reena Spaulings, Bonjour! 1–3, 2017, oil on Dibond and mixed media. Installation view. Photo: Britta Schlier.

AFTER MORE THAN A DECADE of caustic yet playful teasing of the contemporary art apparatus, Reena Spaulings has been granted a retrospective—sort of. To offer some historical background for the uninitiated: In 2003, writer John Kelsey and artist Emily Sundblad opened Reena Spaulings, a gallery on New York’s Lower East Side, which has since launched the careers of many influential artists. In 2004, artworks made by Kelsey and Sundblad under the moniker “Reena Spaulings” began appearing in group shows. Audiences then learned a great deal about Reena—as both artist and gallery are usually known—through the book Reena Spaulings (2005). Though officially authored by Bernadette Corporation—an already mythic ’90s art/fashion collective of which Kelsey is a member—the narrative was infamously written by 150 individuals in B.C.’s circle. From time to time, other

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