{"id":1001,"date":"2012-02-20T23:39:55","date_gmt":"2012-02-21T04:39:55","guid":{"rendered":"http:\/\/newyorkarttours.com\/blog\/?p=1001"},"modified":"2012-02-20T23:39:55","modified_gmt":"2012-02-21T04:39:55","slug":"the-ungovernables-at-the-new-museum","status":"publish","type":"post","link":"https:\/\/newyorkarttours.com\/blog\/2012\/02\/20\/the-ungovernables-at-the-new-museum\/","title":{"rendered":"‘The Ungovernables’ at The New Museum"},"content":{"rendered":"

Can a museum exhibition claiming to \u201cembrace the energy of this generation\u2019s (international artists in their 20s and 30s) urgencies\u201d compete with still fresh images and reports of Arab Spring or Occupy Wall Street protests?\u00a0 While socially aware, The New Museum<\/a>\u2019s second Triennial, \u2018The Ungovernables\u2019 demonstrates less of a radical edge than a persistent questioning of the status quo and power structures in artists\u2019 home countries around the world.\u00a0 More of a chipping away than an uprising, for better or worse the show largely dispenses with aesthetic pleasure or craftsmanship in favor of often personal engagements with broader cultural or national identities.<\/p>\n

The standouts include:<\/p>\n

Hassan Khan, b. \u201975, lives Cairo.\u00a0 Jewel, \u201910 – This mesmerizing video choreographing a two-man dance-off in traditional Cairo style is the show-stopper.<\/p>\n

\"Hassan<\/a>
Hassan Khan, Jewel, \u201910. Photo courtesy Galerie Chantal Crousel, Paris.<\/figcaption><\/figure>\n

Cinthia Marcelle, b. 74, Brazil. The Century, \u201911 \u2013 Barrels, hardhats and more objects are hurled down a street in a video orchestrated by Marcelle, offering some of that talked about urgency and exciting the senses but without reference to any particular conflict.<\/p>\n

The Propeller Group, founded 2006, Ho Chi Minh City. TVC Communism, \u201911 – On a circle of five monitors, five ad execs from an international agency hired by the Group hash out the intricacies of rebranding Communism, a fascinating conjuncture between competing ideologies.<\/p>\n

\"The<\/a>
The Propeller Group, 'TVC Communism', \u201911<\/figcaption><\/figure>\n

Pilvi Takala, b. 81, lives Amsterdam and Istanbul. The Trainee, \u201908 – For a month, Takala posed as an intern at an accounting firm raising the ire of fellow workers as she sat motionless at a desk or rode the elevator.\u00a0 Their irritation seems to be the point, and while this illumination of social and workplace expectations yields results that are hardly surprising, it\u2019s an amusing scenario for us, especially when Takala tells chagrined employees that she\u2019s \u2018working in her head.\u2019<\/p>\n

Jose Antonio Vega Macotela, b. \u201980, lives Amsterdam, Mexico City.\u00a0 Time Divisa \u201910 –\u00a0 Over a four-year period, Vega Macotela exchanged labor with Mexico City prison inmates, completing agreed upon assignments simultaneous that included smuggling in items in return for a map showing the route that 100,000 pesos took inside the prison.<\/p>\n

\"Slavs<\/a>
Slavs and Tatars, Prayway, \u201812.<\/figcaption><\/figure>\n

Slavs and Tatars, founded 2006, Eurasia.\u00a0 Prayway, \u201812 – A communal, \u2018riverbed\u2019 seat by the collective Slavs and Tatars appears to be an enormous folded sheet of metal resembling an open (prayer) book with a Persian rug arranged on top and a blue neon glow beneath – a Star-Trek channeling exercise in incongruity that should get conversation started.<\/p>\n","protected":false},"excerpt":{"rendered":"

Can a museum exhibition claiming to \u201cembrace the energy of this generation\u2019s (international artists in their 20s and 30s) urgencies\u201d compete with still fresh images and reports of Arab Spring or Occupy Wall Street protests?\u00a0 While socially aware, The New Museum\u2019s second Triennial, \u2018The Ungovernables\u2019 demonstrates less of a radical edge than a persistent questioning … <\/p>\n

Read more “‘The Ungovernables’ at The New Museum”<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4],"tags":[8,29,131,114,125,14,129,128,132,12,127,126,123,130,122,124,11],"class_list":["post-1001","post","type-post","status-publish","format-standard","hentry","category-hottest-show","tag-art","tag-art-criticism","tag-cinthia-marcelle","tag-contemporary-art","tag-eungie-joo","tag-exhibition","tag-hassan-khan","tag-jose-antonio-vega-macotela","tag-modern-art","tag-new-york","tag-pilvi-takala","tag-slaves-and-tatars","tag-the-new-museum-of-contemporary-art","tag-the-propeller-group","tag-the-ungovernables","tag-triennial","tag-visual-art"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2BDOD-g9","_links":{"self":[{"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/posts\/1001","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/comments?post=1001"}],"version-history":[{"count":4,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/posts\/1001\/revisions"}],"predecessor-version":[{"id":1008,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/posts\/1001\/revisions\/1008"}],"wp:attachment":[{"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/media?parent=1001"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/categories?post=1001"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newyorkarttours.com\/blog\/wp-json\/wp\/v2\/tags?post=1001"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}