Younger than Jesus at the New Museum.


Discarded fruit peels as art: Adriana Lara’s Installation (Banana Peel). (Photos by C-M.)

I’ll be up front about it: I liked the New Museum’s wunderkind show The Generational: Younger Than Jesus a whole lot more than I thought I would. The hacked turntable by Icaro Zorba was inspired, as was a YouTube-meets- the-Russian-avant-garde video by Armenian artist Tigran Khachatryan. Cyprien Gaillard has a film devoted to government architecture, with explosions and fight clubs. And Mohamed Bourouissa has some saturated, tension-filled photos, taken primarily in the Paris banlieues. Naturally, there were one liners, such as the discarded banana peel, a.k.a. the installation, above. Too institutional inside joke.

Listen to me be inarticulate about the whole mess on WNYC.

See more images and video from the show on WNYC’s blog, Art.Cult.

Also, you can find the exhibit blog here. Younger Than Jesus runs through July 5th.

Click on images to supersize.


Three turn-tables all play the same record, an old bolero, in this sculpture by Icaro Zorba, from Colombia. The three different needles channel different bars of the song, creating an echo and distortion. The piece, called Golden Triangle, seemed to take my childhood, and scramble it. I found it very moving. Update: As ArtWhirled points out in the comments, this piece bears an uncanny resemblance to a work by Sean Duffy. Interestingly, both sculptures were produced in the same year: 2006.


Untitled, 2008 by Kitty Kraus. Stonerrific.


It Doesn’t Matter, by Kateřina Šedá, a series of drawings by her grandmother. There was a wall full of them. According to the accompanying text, Šedá’s grandmother had grown distressed, so the artist had her draw pictures of everything she had seen at the home supplies store she’d once worked at in Brno. In addition to the work, I really enjoyed the wall text, which included 19th century bodice ripper phrases such as: “Determined to assuage her grandmothers torpor…”


This was on a small stage, on the fourth floor, where you could sit in one of many fold-out chairs and watch videos by James Richards, in an installation called Active Negative Programme. Needless to say, I like any work that comes with seats. But I liked the above sequence, where talk show audience cutaways are spliced together into an endless staring contest, even more.


L.A. artist Lizz Glynn’s crew builds Rome in a day. Literally. A cardboard and wood model of the city that would be built and destroyed within 24 hours. I learned that if artists are going to build Rome in a day, they need an orgy-worthy buffet.


The Saltz-master didn’t particularly enjoy Cao Fei’s COSPlayers series. But I like the way that Cao uses architecture and urban landscape in her photos. It’s very manga.


The Great Battle Under the Table, by Julian Ziolkowski. See a detail here.


Sleeping pill + woman + comforter=This is XX, by Chu Yun. Kinda like watching someone sleep.


Panties, by Tala Madani, who hails from Iran (where I lived for three years in the ’70s; in Rafsanjan, no less).


A photo of a video by curatorial darling Ryan Trecartin, from the piece Re’Search Wait’S.


When I arrived at the show, this lip couch, was sitting in the middle of the first floor, without stanchioning. At one point, I got a bit too close and was quickly informed that I should step away from the “sculpture.” Hilarious.

See the NY Times review and slideshow and a photo essay at NY Art Beat. Also, the Saltz-master has video! Plus: The Moment and Art in America cover the sceney scene.

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