BERLIN — BB9 is so vacuous, ideologically apathetic, ahistorical, sarcastic, and dehumanizing, it’s a wonder it hasn’t been blacklisted solely on account of its conformity to commodity fetishism.
After six years and three installments, is the New Museum’s Triennial entering middle age? An odd question for an exhibition devoted to “early-career artists,” as the museum’s press release describes them.
What does it mean when the people hired to make a body of work relevant, as the magazine Bidoun was for the collective GCC, call it “quick and cute and perfectly timed”?
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.