A harmonic convergence of investigations into signature art

It’s not yet clear if New York has come out of the coronavirus forest, but if all goes well, October will give us the opportunity to see...

It’s not yet clear if New York has come out of the coronavirus forest, but if all goes well, October will give us the opportunity to see how recent and new art has performed during the siege of the pandemic. . This month, the city will witness the unprecedented coincidence of three ambitious and recurring surveys – Greater New York to MoMA / PS1, the New Triennial Museum 2021 and the Performa Biennale 2021. All were created this century to capture the zeitgeist in one way or another.

This convergence seems auspicious – and necessary – offering a chance to take stock after one of the most tumultuous, and for better but also worse, most transformative periods in American history.

The past year and a half has refined the view of art as a weapon of social justice, but it has also renewed appreciation for the contemplative side of art, its ability to comfort and relieve in times of crisis. These two qualities are often seen as mutually exclusive, but both are present, however subtly, in the best work.

These shows won’t materialize for a while, so there are only press releases, artwork checklists, and short artist blurbs to check out. Their analysis, however, yields interesting, albeit provisional, conclusions. While they are incredibly different entities, they share one thing: a notable shortage of white male artists, an evolution in step with the growing awareness of American racism accelerated by the murder of George Floyd. Plus, at least both exhibits are full of unfamiliar names.

Postponed for a year by Covid-19, the latest version of Greater New York will present the work of 47 artists and collectives who live or work in New York (City or State), or have a family or ancestral link there. While he is not totally unaware of the artists who have had some success in the New York art world, he looks above all beyond this shining sphere and, like an octopus, extends his appendages at different points of the time and space.

The exhibition will include examples of bright but mysterious stained glass sculptures with which Kristi Cavatarô made her solo debut in New York this spring at Ramiken crucible, a gallery in Bushwick.

But there will also be the efforts of Shelley Niro, born 1954 in Niagara Falls, NY and raised on the Six Nations of the Grand River Reserve in Canada, returning to the state as an adult to work near Lake Erie. . In “Resting Place of My Ancestors” his fossil photographs can be read as representing human life, ancient wisdom and precedence.

This edition of Greater New York, which opens on October 7, was organized by curator PS1 Ruba katrib and the Ugandan writer and curator Serubiri Moses, in collaboration with the director PS1 Kate fowle and Inés Katzenstein, director of MoMA’s Cisneros Research Institute for the Study of Latin American Art. It leans towards social justice but of a very focused genre, and its participants appear to be older than usual: more than half were born before 1980 and some no longer live, the oldest being the abstract painter inspired by UFOs. Paulina Peavy, who was born in 1901 and died in 1999.

If Greater New York is spread across generations, the New Museum’s latest International Triennial, titled “Soft Water Hard Stone,” which opens October 28, focuses: Almost all of the artists here were born after 1980, and a few- a few just before. Most are exhibited for the first time in an American museum. The title aims to evoke the prolonged process – a form of resistance – by which flowing or flowing water alters the stone.

Organized by Margot Norton, curator of the New Museum, and Jamillah James, senior curator at the Institute of Contemporary Art in Los Angeles, “Soft Water Hard Stone” seems particularly concentrated in terms of art forms. Images in the museum’s checklist suggest that the sculpture and sculptural installations, many of which involve found objects, are overwhelming.

Based on this document, the works I look forward to include the pearl installation by Jeneen Frei Njootli inside the museum and on the sidewalk outside; and Brandon Ndife’s hallmark of organic Goth – often common furniture, seemingly overrun with amalgamations of related objects or natural materials.

The Performa Biennale, which runs from October 12 to 29, has been drastically reshaped by the pandemic, perhaps for the better. Its founder, RoseLee Goldberg, and her small staff began to rethink their mission and prepare for different eventualities from the start of the shutdown.

Their solution seems both inspired and sensible: they reduced the size of the event and focused it more on “new visual performances” in New York.

This time there are only eight commissions and nothing else; the international program has been suspended. The guest artists are mostly from New York, which significantly reduces Performa’s carbon footprint. The works, developed in close collaboration with the staff of the biennial, will be performed in the open air and without entrance fees.

It helps that several of the artists are known, but not necessarily for the performance.

Tschabalala Self, whose paintings often depict characters in extreme poses or movements, wrote a play to be performed on a stage of his own design at Jackie Robinson Park in Harlem. Ericka Beckman, a seasoned filmmaker of the Image generation, will offer an alternate version of “Jack and the Beanstalk” – ambiguously titled “STALK” – cropped as a commentary on capitalism, in an outdoor industrial estate in New York City.

And Kevin beasley – of which “A view of a landscape: A cotton gin motor” has been seen and heard, spinning at full speed in a closed display case, as the centerpiece of an exceptional 2018 Whitney Museum exhibit – will orchestrate an elaborate performance operating somewhere between a movie set and an event at an intersection on the Lower East Side.

Apart from his small office, Performa has never had a home, but this year he will be particularly nomadic, openly projecting different parts of the city in a new light, making places new memories. With this streamlined structure, we should have the pleasant experience of seeing the forest and the trees at the same time. Sometimes the struggle for survival becomes an act of renewal.

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Newsrust - US Top News: A harmonic convergence of investigations into signature art
A harmonic convergence of investigations into signature art
Newsrust - US Top News
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