Recently acquired by the Museum of Modern Art, Ian Cheng’s epic “live simulation” trilogy, Emissary (2015 – 17) is installed in its entirety for the first time at both MoMA PS1 and live-streamed on Twitch, a social video platform for gamers.
Billed as an exhibition, Refiguring Binaries offers a looping selection of 18 screen-based works by ten non-male-identifying artists, who engage with digital technologies as old as animation and GIFs, and as new as the latest developments in virtual and augmented reality.
Comprising the work of over forty artists and filmmakers, curator Chrissie Iles’s massive undertaking speaks comprehensively to the expanded field of cultural production, where the cinematic moves beyond its disciplinary boundaries and unites art with lived experience.
As the audience filed into the space, sounds of naturesqueaking, mooingfilled the air. Once we were seated, Black and Huxtable entered the room in taupe suits, acting as prosecutor and defense attorney, respectively.
Focusing on the moving image, the show is an antidote to viewing room fatigue and ill-begotten exhibitions made virtual. More importantly, it presents the vicissitudes of contemporary Black life in a world rife with racial injustice, while responding to the disproportionate impact of the virus on historically racialized, marginalized, and underserved communities.
In a time now regularly described as challenging or unprecedented, its tricky to find balance between the uplifting, or even saccharinephrases like Were all in this together come to mindand the downright horrifying. Director and editor Orian Barki and artist Meriem Bennanis animated Instagram series 2 Lizards locates the middle while speaking to the volley of emotions activated by COVID-19.
Brazilian performance artist Berna Reales first exhibition in New York features a series of photographs and videos centered around her creation of non-binary character Bi.