The skeletal remains and fibrous entrails of Lot 20. Two Kennedy Administration Cabinet Room Chairs begin, are scattered throughout and finally end the exhibition. As with all of the items on view, the wall label accompanying this work is crucial. The texts explain the origin, migration and transformation of the objects, emphasizing Vo’s habitual searching, acquiring and repositioning of culturally resonant artefacts. This label states that Jacqueline Kennedy gifted the chairs to Secretary of Defense Robert S. McNamara. She wrote to him that he should have something “special of Jack’s, that will mean something to you and that he would have wanted you to have.”
NXIETIN is the latest iteration of a performance collaboration between Hannah Black, Ebba Fransén Waldhör, and Soraya Lutangu (Bonaventure), loosely centered around the idea of a superhero figure called Anxietina. NXIETIN is an attempt to build a mythic infrastructure around the pervasive anxiety of the everyday: her superpower is an anxiety that is both her own and an undifferentiated collective energy.
ART COLOGNE (19-22 April) offers utmost quality at all levels from modern through postwar to contemporary art. Visitors can look forward to established top galleries, renowned new participants and young newcomers.
A certain disarming intimacy emerges, despite direct references to the slickness of American Minimalism: Mi sento quasi... / I Almost Feel… (2017) is an ever-so-slightly irregular (and not quite closed, perhaps echoes of the “almost” in the title) hoop of iridescent green Murano glass a little more than a meter in diameter; Sempre io / Always Me (2017), a pair of two two-meter long 2.2 cm square rods, set end to end and gilded in lemon and yellow gold. The placement and shapes are a nod to Judd, Lewitt or other midcentury Minimalists. In Come una farfalla / Like a Butterfly (2018), a crumpled, button-down men’s shirt rendered in bronze, Gennari riffs on the piled, unfolded garments that often appear in Arte Povera work from the same era.
The somewhat invisible labor of this hugely important nonprofit is given its due attention with Broadcasting: EAI at ICA, an exhibition at the Institute of Contemporary Art (ICA), University of Pennsylvania. Curated by the ICA’s Alex Klein and EAI’s Rebecca Cleman, the exhibition takes on broadcasting not only as its subject but its form. The curators note that the term “broadcasting” originates from agriculture and means “to disperse seeds widely,” but later came to figuratively describe communications technology. Accordingly, the curators have broadcast the exhibition—notably, through a related exhibition nearby at Slought titled Broadcasting: Guerilla Media, which focuses on collectivist media and Guerilla Television, with works by groups such as Video Venice News, X-PRZ, and TVTV. Public programs—namely, discussions about media art—have also been broadcast on the public access network PhillyCAM in the lineage of several of the artists surveyed.