
THE GRATEFUL DEAD
I like the word Masoretic but feel
Disinclined to use it in a sentence
Scrying instead my platelets
And bad dreams. Something
Keeps sleeping against
Me that is not the person
Beside me. By ‘against’
I mean against. My lack
Of beauty was supposed
To be some fault of my own.
They would have had me believe
This entire ‘democracy’ was an inner defect
Bartering my hooked nose against
Your virtuosity I walked the line
Between pity and horror having come
Here for one reason and one reason only:
To have become at last American.
‘They Dream Only Of America’ is a poem
By John Ashbery. I gratefully received a bequest
Of his collection of pornography and a very
Ugly chair. But you must tell no one these facts
There are things I was told I’d have to take
To my grave. For I toil in a public place
Using an invisible medium employed by all
But subtracted, in my hands and in my mouth
From common use. And scorned by all
I yet remain here. Why, you ask?
Curiosity
Text by Ariana Reines



Sanya Kantarovsky works across mediums, including sculpture, animation and curation, with painting remaining at the center of his practice. Teeming with wry humor and unearthly narratives, Kantarovsky’s paintings propose scenarios of turmoil and investigate liminal spaces, physical proximities, affect, and cruelty. His sometimes delicate and often repulsive subjects grapple with the confines of their bodies, interacting with one another in a painterly satire of status anxiety and existential crises. Willfully engaging the historical canon of painting and literature, Kantarovsky perverts tropes and archetypes with elements gleaned from more populist forms of visual culture such as cartoons, illustration, film and advertising. Kantarovsky’s paintings a reassembled through fits and starts, with layered abrasions and dispersions of material, resulting in surfaces that engender a productive delay in looking and seeing.

Capitain Petzel is a joint venture between Cologne’s Galerie Gisela Capitain and New York’s Petzel Gallery. Established in 2008, it occupies the Soviet-era modernist gallery space of the former Kunst im Heim on central Berlin’s iconic Karl-Marx-Allee.

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