Even though the title and press text Songs for sabotage of the fourth New Museum Triennal (February 13–May 27, 2018) maybe gives too much promise of power structures and neoliberal market dismantled, we very much enjoyed the exhibition with almost only newly commissioned work by 26 young artists/art collectives from 19 countries.
As a whole Songs of sabotage addresses the connection of images and culture with social, political, and economic issues – both in local and international contexts, and reveal the built systems that construct our reality, images, and truths. Here’s a few of the memorable and surprising works (that I could photograph before my phone died) (and also recommend you to look at better images for example here ) .
Manolis D. Lemos, still from the video dusk and dawn look just the same (riot tourism) (2017) that shows a group of people (with a sunset painted over their coats) running through Athens.
Daniela Ortiz, four out of six proposals for replacements of monuments of Columbus in New York, Los Angeles, Madrid, Barcelona, and Lima, Peru : On the shoulders of the oppressor our pain will weight (Sobre los hombros del opresor pesará nuestro dolor) (2018), This land will never be fertile for having given birth to colonisers (Esta tierra jamás será fértil por haber parido colonas) (2018), Columbus (Colón) (2018), and Burn el hielo (2018)
Exquisite paintings by Chemu Ng’ok.
Clan Dayrit, Landlessness in the Islands (detail) and Mapa de lo que ahora se como Las Islas Pilipinas (2017) with my phone before it died.
Wilmer Wilson, staples and pigment print on wood!
From the website:
“Songs for Sabotage” explores interventions into cities, infrastructures, and the networks of everyday life, proposing objects that might create common experience. The exhibition takes as a given that these structures are linked to the entrenched powers of colonialism and institutionalized racism that magnify inequity. Through their distinct approaches, the artists in “Songs for Sabotage” offer models for dismantling and replacing the political and economic networks that envelop today’s global youth. Invoking the heightened role of identity in today’s culture, they take on the technological, economic, and material structures that stand in the way of collectivity.
These artists are further connected by both their deep engagements with the specificity of local context and a critical examination—and embrace—of the internationalism that links them. Their works range widely in medium and form, including painted allegories for the administration of power, sculptural proposals to renew (and destroy) monuments, and cinematic works that engage the modes of propaganda that influence us more and more each day. Viewed in ensemble, these works provide models for reflecting upon and working against a system that seems doomed to failure.
“Songs for Sabotage” is curated by Gary Carrion-Murayari.