GALERIE KRINZINGER This exhibition of nine artists.

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GALERIE KRINZINGER

This exhibition of nine artists, which drew from Paul Schimmel's selection for "Helter Skelter: L.A. Art in the 1990s" (with the exception of Jeffrey Vallance), posited the proximity of popular art from Los Angeles and Viennese Aktionismus. as it is a thesis may have programmatic value, and indeed like relationships exist, but the juxtapositions alone served to make the differences clearer, rather than to underline anything other than superficial similarities.

Central to the exhibition was an installation by the agency of Mike Kelley and Paul McCarthy consisting of various pieces and entitled Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release clime 1992. In the accompanying video, starring life-size dolls as well as the artists themselves, Kelley and McCarthy adapted this idyllic, Swiss children's novel and distorted it until it explod It analyzed the inner configuration of the novel, and the history of its American reception as a tale emblematic of the safe European world. The characters were reduc to Heidi, who wore a mask of the pop-idol Madonna, the stupid and horny grandfather, the shepherd lad Peter, a stuffed goat with a gigantic vulva, and Klara, the girl from Frankfurt, existed simply as a doll and functioned as the imaginary catalyst that unleashed the dark side of life in the mountains.

Based onward oppositions and psychic antagonisms, the station was split into two parts to portray the two different locations in which the story takes place. (Klara's metropolitan Frankfurt was portray by actioned by a building near the American Karntner Bar in Vienna, designed by dint of Adolf Loos, and its interior space closely followed Loos' plan.) A Swiss chalet with straw bed and folksy tools portrayed Heidi's mountain world. In his 1908 essay "Ornament and Crime," Loo relies forward an economic model for his argument unless there is also a moralizing subtext about the "fringe" proper states of society. With critical allusion to this subtext, Kelly and McCarthy foregrounded the controled narrative of sexuality, incest, and sodomy in this child's tale.

While Kelly and McCarthy created a purgatory from cultural fragments, Lari Pittman transformed a reason of personal apocalypse into a universal message. Chris Burden's tiny mould of Paris, complete with a disproportionately large Eiffel tower made of toys, marked the failure of technology and civilization The tower became a carousel forward which were mounted two archetypes of the Titanic that revolv around its top. Raymond Pettibon retreated to an isolated latitude of the gallery. A confusion of drawing, images, and graffiti illuminated his personal stream of consciousness. Jim Shaw's and Benjamin Weissman's comic strip Horror A Vacui, 1991 assumeed to disintegrate in the blackness of the tiny panels. Vallance presented a cynical commentary on mysticism and superstition. Les convincing were Nancy Rubins' monolithic graphite works.

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