Archive for the ‘aesthetics’ Category

Calder & Oiticica at Whitney Museum

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If you enjoy work that breaks the norms of fine art; work that invites the viewer to participate, this is a great time to visit the Whitney Museum of American Art.

Through the remainder of the month, on the 8th floor, one may see Museum employees activate Alexander Calder sculptures. With slight touches and hand gestures, Calder’s work is set in motion as it was meant to be enjoyed. Several pieces on display are motorized, unfortunately they do not appear to be plugged in or at least when I was there I did not see them in motion. However, the ones that are activated by human touch are beautiful to see in motion. One may immediately capture the great care that Calder took in combining form and weight to create compositions that have expression through movement. The works are simple and delicate but when they are put in motion they appear to have their own life due to the joints and careful balancing of the pieces assembled to make the whole.

Work your way down the museum and I believe that it is on the sixth floor that one will encounter “An Incomplete History of Protest”. As problematic as the labels “Protest Art” or “Political Art” may be, many of the works in the exhibition were not made in the studio for the gallery, but were realized through collaboration and enjoyed public manifestation on the street in the midst of protest. I tend to consider such art as genuinely “political art” or “activist art”. The exhibition does a reasonable job of presenting an overview of such work over the last fifty years in the United States.

Further down the building, perhaps on the fifth floor is “Hélio Oiticica: To Organize Delirium” which to me is the most fun of all the exhibitions on view. It is unfortunate that the Brazilian artist Hélio Oiticica died at 42 as he was prolific and realized work that is at once provocative, social and contemplative. Several of the galleries, allow the viewer to walk through the work or even wear the pieces as Hélio Oiticica meant the work to be! This is great as it is not uncommon for work originally designed to be tactile has been removed from the visitor’s reach, not so with Oiticica’s exhibition. One gallery even features clothing designed by Oiticica hanging on a rack, for visitors to try on and model in front of a mirror. A walk through the installation “Tropicália, 1966–67” alone is worth the trip to the Whitney. As one winds through the installation, visit the two large parrots in a white cage and if you go around 3pm when they are fed by their handlers you will enjoy their sounds resonating throughout the exhibition.

Written by ricardo

September 4th, 2017 at 12:20 pm

“Once Upon a Place” at Time Square

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“Once Upon a Place” by Aman Mojadidi at Time Square

Repurposed public phone booths are a poor vehicle for the sharing of immigrant stories. As an artist largely dedicated to reflecting upon migrant populations and cultural dislocation, as soon as I heard about Aman Mojadidi’s “Once Upon a Place”, installed at Time Square, I knew that I needed to visit the project. I worked out a deal with my son and hauled him up to Time Square. Upon entering Duffy Square, we encountered three old phone booths sitting on red and blue carpets with phrases such as “Global Stories” along the circular perimeter.

The first one I entered did not appear to function. I picked up the receiver, put it to my ear and heard only silence. I searched for instructions on the phone as I pushed the numerical keypad, nothing. I pulled out the phone book hanging below a steel shelf, but there was no information as to how to activate the phone. I considered putting coins in the slot, but didn’t have any. So then I stepped out, and read the signage for the project, still no instructions. At this point, the other phones were empty so I tried a second phone booth.

Upon putting the receiver to my ear, I heard the voice of a woman. She was from Mexico and she was describing the hardships and poverty of her home town. The story was brief. She was followed by a man from West Africa, I do not recall the country. He has well explained his desire for a new life due to the intense poverty of his upbringing. The next man, if I recall correctly was Dominican and he explained how his entire family had immigrated to the United States. He was left alone in his country, so he felt that he had little choice but to migrate to the United States…

I believe that the reason that I don’t recall details from these personal stories, besides the fact that it was hot and uncomfortable in the phone booth, is that they were not very interesting. The use of the repurposed phone booth to share immigrant tales is clever (though I don’t recall and can’t imagine a phone booth ever being a popular means to call family across borders), but the framing and presentation of the content does not make the work compelling. Ultimately, the work relies on the strength of the subjects the artist has captured and the artist’s capability to steer the conversation or interview and stir nuance from the subject. The three subjects (of 70) that I listened to were not engaging story tellers. Their experiences were sad and clearly state the need to escape a harsh reality and yet they did not summon empathy or any emotional reaction in me.

However, my time with the project was cut short, by a bored nine year old, who started tapping down the phone’s hookswitch and with each tap the voice from the receiver would go silent. The recording would not pause as when he lifted the hookswitch and I heard the voice again, it did not begin from the stopping point, but rather the audio was continual. So once we were both frustrated, I relented to his desire to move on.

We sat in the stands over looking Duffy Square and ate lunch. I continued to observe the installation. Sadly there was very little interest in the project from the throngs of tourists on a summer Saturday afternoon as the phone booths remained largely empty. Occasionally a curious tourist would poke her head in, listen for a few seconds and then walk out.

My take away from interacting with the installation and observing the public interest: a multitude of stories or interviews, apparently a total of 70, does not generate an interesting project. A single compelling story teller is more significant than many interviewees. Secondly, I found the combination of the immediate surroundings and the heat within the phone booth too distracting to focus on the audio for very long. Time Square is not a good location for audio installations that rely upon focused engagement. Lastly, I’ve got to stop taking my son to see art work that I wish to engage with for any extended period of time. Perhaps, I’ll go back at night by myself and have a different experience.

Aman Mojadidi's

Sharing the phone at Aman Mojadidi’s “Once Upon A Place”

The installation commissioned by Time Square Arts will continue to be available until September 5th at Duffy Square – West 46th Street and Seventh Avenue.

“Hansel & Gretel” at Park Avenue Armory – Save Your Money

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Hansel & Gretel at Park Avenue Armory

The “Hansel & Gretel” curatorial statement describes the installation as a space that brings together Jacques Herzog, Pierre de Meuron and Ai Weiwei combined interests in

the psychological impact of architecture and the politics of public space; creating a playful, strange, and eventually eerie environment with different layers of reality revealed to the visitor… Hansel & Gretel is a dystopian forest of projected light where the floor rises up, as if lifted by an invisible force, and visitors are tracked by infrared cameras and surveyed by overhead drones as they systematically capture the parkgoers’ data and movements…

Unfortunately, the only portion of this description that resonates is the playfulness. Indeed Herzog, de Meuron and Weiwei have created a dark environment in which visitors may skip around and play with light traces of their image. However, the installation lacks strangeness, eeriness, politics or any psychological reverberation.

Other than the initial moment of discovery that one’s image is being projected on to the ground after it is periodically taken due to on one’s movement in the space, the installation presents very little that is interesting. The drones may have been a neat prop had they not been tethered.

The second part of the installation is a didactic revelation of what the installation is trying to allude to – that we are objects of surveillance. As far as a critical art installation regarding surveillance, there was much more interesting work done 15+ years ago. Perhaps the theme of surveillance has been so overly investigated and picked apart by art previously and by entertainment today (“Black Mirror” for example) that such an installation seems trite and naive. There is so much of our data being captured today, that building an installation that merely plays upon facial recognition and motion sensors is just kind of dumb, but it is playful. So if $16 is worth the cost of running around a huge dark open space and playing with light projection, check it out.

Hansel & Gretel at Park Avenue Armory

A second perspective: Playtime at the Armory
Once again discovering what this city has to offer, there I was with Ricardo walking into a venue called the Armory near Hunter College, a place I had never been before to see a new art installation called “Hansel & Gretel”. He had been keen to check this out for a few weeks, and like the curious creature I am, I followed along.

We received a quick intro and were instructed to read a phase on the wall before entering -which i forgot- and then allowed to enter. We walked into black nothingness. My immediate reaction was to scramble for Ricardo’s hand. I didn’t realize the massiveness of this place until my eyes adjusted from the summer sunlight to the darkness inside of the Armory. It was only eerie the first few minutes because I had no idea where the hell I was walking. There were a few cameras far above us hanging from the ceiling and lights that would follow us. As we continued to walk, our movement was detected, grid lines would appear and cameras would be activated to capture our moves. Suddenly, it was playtime! It was fun to pose in different positions to watch the resulting snap shot of yourself illuminated on the black floor. At one point my sweater and shoes came off and I really got into it.

Ricardo noticed two drones hovering on one side of the space living poor unfulfilled lives- tied onto leashes without free movement. It would have been more interesting if they were chasing people around. After exhausting our ideas for poses, the novelty wore off and we were ready to enter part deux of the installation. For that, we had to exit this part of the Armory and enter from another entrance on the other side of the street.

After pausing in front of a camera you were allowed inside. There were many ipads on long tables with apps. You could elect to have your face identified and then search the cameras for your photo which was taken in the first part of the installation. That was cool. You could read about the history of surveillance, or access cameras to spy on others walking into the exhibits. The Armory itself was impressive, the installation not as much. It was a new, interesting experience- a fun activity for kids, I would say. I didn’t leave with the feeling that I had witnessed an impressive statement against today’s constant scrutiny and monitoring that we are all under. I didn’t feel intruded upon. There wasn’t anything menacing or fantastical as is described in the program leaflet. It was just pretty cool and fun.

Perhaps the work behind the installation was complicated, but with my lack of technical know-how, I failed to appreciate the amount of effort involved. To have truly made an impact, more could have been done to confuse or play with the audience with the intention of throwing them off or perhaps even scaring them. Coupling that with the sound of Russian men having conversations in the background (that felt clandestine in nature), and I would have possibly left quite feeling differently.

Hansel & Gretel at Park Avenue Armory

Reflections on “Arlington”

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Imagine a sterile white waiting room with a row of three plastic blue chairs to the far left and a tall narrow window to the far right. At the back, to the right is a wide fish-less aquarium, to the right of the aquarium on the wall a paper cup dispenser and nearly at the right corner the only door to enter or leave the waiting room. It is a narrow and tall door. On the drop ceiling are four surveillance cameras and mounted on to the wall behind the plastic chairs a microphone on a gooseneck. On the other side of that left wall, is a control room with a desk and many small monitors all about the room.

In Enda Walsh’s “Arlington” the waiting room is at once an isolation room and an observation room but more importantly a psychological prison. I went to the play (currently at St. Ann’s Warehouse) because I was interested in seeing how the piece melded multimedia with the actors on the stage as I had read it was quite successful; I was not disappointed.

The play that combines theater, dance, video, music and lighting effects to create a work of speculative fiction that delves in to existential reality based in contemporary, first-world society. Initially the play brought to mind Calderón de la Barca’s “La vida es sueño” (Life Is a Dream) (1635) – “Man dreams what he is until he awakens…” I read the play over 20 years ago and what I recall is that a prince, Segismundo is imprisoned in a windowless tower since his childhood. He is given a tutor to have a formal education. When he dreams he recalls his life before imprisonment – playing feely as a child. He confuses his dreams with his reality – to him his dreams that recall freedom are his reality and the time spent in the tower alone or with his tutor is sleep time. The play popularly considered a masterpiece of the Golden Age of Spanish Theater brings to the forefront questions of free will versus fate and whether life is a dream or a reality. Similarly, Isla, the main character in “Arlington” is imprisoned and has one individual to communicate with – the 32 year old technician that sits on the other side of the wall and observes her. As with Segismundo, it is unclear how long Isla has been in this waiting room and like Segismundo the waiting room is at the top of a tower.

At one point there are allusions to her having supernatural powers as she is the one constructing the towers that rise outside, beyond the window. As the piece progressed, it brought to mind Netflix’s “The OA” – an 8 episode series that also presents imprisonment, torture, the question of reality versus psychological construction. And as the combination of video projection and light effects were woven into the play, I couldn’t help but also think about Netflix’s “Black Mirror”.

There is a middle section in the play, following the freedom of Isla, when a new woman is inserted into the waiting room. This section is gripping due to her movement. The character has no words, but her dance choreographed by Oona Doherty speaks clearly of anger and resistance.

The final character to be inserted in to the waiting room is the 32-year old technician who apparently freed Isla from the room. As with Isla, he recalls elements of his childhood that appear to have left psychological scars.

There is one sequence of the play in which immense faces are projected onto the far wall, one after the next – a portrait of the audience and the accompanying narration is a philosophical reflection on the society that we have constructed. I need to find the entire play, in particular this narration.

I attended “Arlington” with my friend Erica and she shared her thoughts with me:

I walked into Saint Ann’s warehouse blind. I had no idea what kind of performance Ricardo had invited me to, but I was excited and my feeling was that it would be a simple yet creative production. Just moments after finding our seats, perfectly situated a few rows up towards the middle, the dimly illuminated theatre went black. The curtains opened up to the sides and the stage lights lit up revealing a very basic set depicting a waiting room. Nothing out of the ordinary. All the items were typical of what you would expect to find – a coat rack, three plastic chairs, a waiting ticket number dispenser, a fake plant and an aquarium. However, everyone’s attention was on her- a plainly dressed young woman who was waiting for her turn in what seemed to be a doctor’s office. Something felt odd though. She was staring out of the one window in the room. She seemed confused or lost in a thought. It didn’t take long to grasp that this was not your standard waiting room scenario. For one, there was a mike on the wall like the one used by the fast food drive thru operator. And second, there were four cameras in each corner of the room monitoring the girl. Third, and the weirdest, there was a nervous nerdy guy in a small room next door full of monitors watching and talking to her as if he were her watch guard.

She was obviously not mentally stable and in need of attention. He was definitely a geek who was lonely. Both establish an awkward relationship without ever seeing one another. There are many extensive monologues. It was difficult to ascertain whether the world she was describing is the real environment in which the story is set, or if she is nuts and has concocted a world where everyone is living in waiting rooms like hers and jumping out of windows when they can’t stand it any longer. Am I like her? If so, to what degree? I couldn’t help but think about my own sanity. Within 30 minutes or so, she has stolen his heart and he finally opens the door to let her out of the waiting room. She presumably is freed.

The next scene was the most difficult to sit through. I was literally so uncomfortable that at one point I had to look over at Ricardo and establish eye contact with him in order to feel that this was just a performance and I was not part of that world. Once he looked back at me, this was enough to confirm that we still belong to our crazy world that we’ve normalized and not the unfamiliar, insane world on the stage. The woman before our eyes was clearly in pain. For what seemed like forever, she was banging her chest, slapping her thighs, hitting the floor, throwing her shoes, running and twirling about the waiting room in such a chaos. There was a series of images and music throughout that at times made me feel disoriented. This woman didn’t say a word and she didn’t need to. The choreography was great. The emotions it stirred inside of me, disturbing. I felt she was going to be one of the falling leaves the previous girl had described in one of her monologues. At the end, sure enough, this leaf fell- right out of the window.

The last scene begins with the pathetic watch guard nerdy guy being thrown into the waiting room. He was bloody, and it’s unclear what the hell he’s done. From above, like an omnipresent god, a woman invoked his childhood traumas, and interrogated him not letting him sleep until he confessed what he saw. Apparently when he opened the door to let the woman out, he followed her into a forest where either he killed her or found her dead. How is this known? By a huge projection of her walking in a forest that was shown behind the wall of the waiting room. By the end of his psychological torture, the woman appears to him and reassures him that once “this is over” they will be reunited. They embrace briefly, he falls asleep, and she disappears.

Written by ricardo

May 18th, 2017 at 2:06 pm

Fabrica Habana

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Fabrica Habana

Fabrica Habana, contemporary art gallery of Concha Fontenla, Habana, Cuba

Currently on exhibition at the beautifully renovated colonial home turned contemporary art gallery by Concha Fontenla in Old Habana is a three story exhibition by Cuban artists Jose Toirac and Octavio Cesar Marin. Toirac and Marin draw from various artistic movements such as Conceptual Art and Arte Povera to create a study of the recent history and current reality of Cuba. The gallery consists of three floors and if one begins at the top and works their way down, there is a chronological thread throughout the exhibition. Beginning with allusions to Ancient Western Philosophy and Christianity. On the third floor one will find a broken bronze vase to commemorate Diogenes de Sinope (412-323 BCA), a Greek philosopher of the “escuela cinica” who gave up all material goods and lived as a vagabond on the streets of Athens searching for the honest man.

Jose Toirac and Octavio Cesar Marin at Fabrica Habana

Fabrica Habana
On the same floor, a metal press sits on a pedestal. On one side of the press, is the symbol of christ as stamped on to the eucharist and on the other plate is the portrait of Che Guevara with the phrase “Patria o Muerte 2017”. Above the press is a quote from Fidel, stating that every child should be modeled after Che, an honest and virtuous man. To the right of the press is a long table with two dozen tin cups filled with packaged eucharists stamped with the portrait of the Che. Above the table floats a holy chalice also with the portrait of El Che.

Jose Toirac and Octavio Cesar Marin

On the second floor one will find many memorials to famous Cubans. Each memorial is a pedestal with the name of the historical figure, the dates of birth and death (if the person has died) and the work that each one is known for and on top of the pedestal are objects commemorating the individual. The memorials include intellectual figures such as Jose Marti as well as business men, a famous cook…

Jose Toirac and Octavio Cesar Marin
Jose Toirac and Octavio Cesar Marin
Jose Toirac and Octavio Cesar Marin

Jose Toirac and Octavio Cesar Marin at Fabrica HabanaFinally, on the street level, the artists present a red carpet made of flattened tin cans of Cuban beer and soda. And on the three walls of the gallery hang a series of portraits of Cubans today from a street recycler to a flower vendor a famous chef. Each of these portraits are executed on the material or tools of their trade. At the rear of the gallery, are a couple dozen portraits shot on a steel cart with trash bags (that is installed against the rear wall). These portraits seem a bit trite as they try to emulate professional studio portrait images. However the larger portraits are beautifully executed.
Jose Toirac and Octavio Cesar Marin at Fabrica Habana
Jose Toirac and Octavio Cesar Marin at Fabrica Habana

Jose Toirac and Octavio Cesar Marin at Fabrica Habana

Jose Toirac and Octavio Cesar Marin at Fabrica Habana

The artists effectively portray Cuba as a deeply Catholic and literate society that is wrought with contradictions. The clearest contradiction is effectively presented by the eucharist embossed with the portrait of Che. The island at the foot of the United States, proudly embraces its Marxist identity as proclaimed by Fidel – the tiny nation that stands against the empire while stringently faithful to the greatest empire of Latin American culture, the Catholic church.
Much of the beauty of the exhibition lies in the simplicity of materials employed to realize the work which also effectively portrays the reality of Cuba. A country with few resources that is industrious, able to maintain 70 year old cars with rescued or constructed parts and that is slowly reconstructing its decaying architectural masterpieces. The culture – music, dance, visual arts resonate throughout the globe and Jose Toirac and Octavio Cesar Marin are able to capture a small piece of this reality.

Volta Art Fair 2017

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Last night, I strolled through the vast Volta13 Art Fair at Pier 90 in Manhattan. For the most part, the fair did not present anything particularly exciting, but below are a few of the works that I considered beautiful and interesting.

Max Razdow

from Max Razdow’s “Metropolis Drawings” that portray “a city in becoming”

Faig Ahmed

from Faig Ahmed’s beautiful hand made carpet pieces

Faig Ahmed

from Faig Ahmed’s beautiful hand made carpet pieces

Faig Ahmed

from Faig Ahmed’s beautiful hand made carpet pieces

Faig Ahmed

from Federico Solmi’s awesome animations

Recetas y Gangas: Essex Street Market Installation

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Recetas y Gangas (Recipes and Deals) is an audio montage of Essex Street Market vendors and shoppers listing goods for sales or sharing personal recipes. The audio montage was recorded and composed to project the market on to the street through an amplified bullhorn. As pedestrians walk past the Essex Street Market, they hear the recorded voices of people working and shopping in the market. Recetas y Gangas was conceived and produced by Ricardo Miranda Zúñiga in 2016 for the exhibition “Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator” curated by Nicolás Dumit Estévez Raful and presented at Cuchifritos Gallery, located within the Essex Street Market.

Commonly street markets around the world have both an outdoor and indoor space. The perimeters of the market may extend on to the street to invite pedestrians in to the market. Rather than walls, street markets may present large openings and awnings to create an arcade where people are at once outside and inside. The Essex Market in the Lower East Side of New York City does not have a side walk extension beyond sandwich boards and signage outside its brick wall. The Essex Street Market facade does not even present pedestrian level windows for those outside to peer in to the interior. The facade is rather an uninviting brick facade, perhaps a planned institutional barrier that Mayor La Guardia desired as he sought to take cart vendors off the sidewalk in an effort to clean up the streets from obstacles and noise. For the exhibition “Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator” at Cuchifritos curated by Nicolás Dumit Estévez Raful, I have sought to extend the Essex Street Market on to the sidewalk through sound.

There is a long history of market vendors announcing, singing or chanting their goods to the public. On Essex Street before cart vendors were moved off the street and into the market, they would call out their goods, hoping to attract buyers. I imagine that when the market first opened this practice continued. Today, walk through a traditional Latin American market and you will hear various products sung in to the air. To develop my project, I solicited vendors to vocalize their products and the more performative, the better. Only two vendors played along, one eagerly – Rosella Albanese from Pain d’Avignon and another through a bit of coaxing – Yanivis Rodriguez of Luna Brothers. You may listen to each of their recordings here. When I was trying to talk Yanivis into the recording while she worked the register, a shopper began to tell me about her recipes for preparing yams. It was an older Dominican woman, perhaps in her 60s who after describing her recipe, told me about the many health benefits of yams.

As I was having a difficult time convincing vendors to sing or chant their goods, I decided to request a recipe from them. This turned out effective as I’ve collected several recipes from vendors and customers. The final piece is an audio montage that captures a portrait of the Essex Street Market through the voices of vendors and customers alike all recorded within the market. The audio montage is titled Recetas y Gangas (Recipes and Deals).

ANOHNI: MARROW

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Lorraine O’Grady performs a strikingly beautiful and powerful song for our times!

In the countryside, under the streams
Suck the marrow out of her bones
Inject me with chemotherapies
Suck the money out of her face

We are all Americans now

Africa, Iceland, Europe and Brazil
China, Thailand, India and Great Britain
Australia, Borneo and Nigeria

We are all Americans now

Suck the oil out of her face
Burn her hair, boil her skin

We are all Americans now

from ANOHNI: HOPELESSNESS

Written by ricardo

December 5th, 2016 at 1:52 pm

On View at Cuchifritos Gallery

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Artist Antonia Pérez creates sculptures by weaving discarded plastic bags. She worked at the gallery during the exhibition.

This is the final weekend for the exhibition “Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator” at Cuchifritos Gallery located in the Essex Street Market. The exhibition curated by Nicolás Dumit Estévez Raful has been in the works for the past two years. The premise of the exhibition is for “six socially conscious artists to engage vendors, customers and the Market itself in their artistic processes as a means of co-generating experiences centered on the life that unfolds outside Cuchifritos Gallery, the art space of the Artist Alliance Inc”.

Ricardo Miranda Zuniga

“Recetas y Gangas: The Essex Street Market Recordings” with mock up of originally proposed installation of bullhorn on the facade of the market

So in preparation for the exhibition, the artists came together with Jodi Waynberg the Executive Director of Artist Alliance as well as Nicolas to begin considering how the artists might work with the market. Jodi toured the artists through the market and introduced them to various vendors as well as the building manager and staff. Nearly all the artists attended a Vendors Association Meeting to present their projects and solicit collaboration.

Ricardo Miranda Zuniga

“Refuse Redo” a collaboration between Mary Ting and Lower East Side Girls Club/La Tiendita – sculptures made from market cardboard.

As one may imagine, the vendors are small business owners and workers. The market is the place that they go to for employment, not necessarily for cultural engagement. Many of the vendors are entirely preoccupied with maintaining their business and were no nonsense about artistic participation. If the artists did not approach with a brief and concrete plan for collaboration, there was little chance of any cooperation. A few vendors were excited at the prospect of creative engagement and happily collaborated. However in general, the ambitious projects envisioned by the artists needed to be simplified.

Ricardo Miranda Zuniga

Scent and air time capsule of the Essex Street Market by Beatrice Glow.

Ricardo Miranda Zuniga

Market collection and journal by Inspector Collector Harley Spiller.


Laia Solé and Nicolás Dumit Estévez Raful employ the color green from the market to create a video montage that collapses the artists at work and the market at work.

For example, I wanted to create an audio montage of the vendors chanting or singing their goods and then to have that audio amplified onto the street via a bullhorn installed on the facade of the Essex Street Market. The concept was to have the interior of the market spill out onto the street as street markets commonly do in Latin America and Europe. Most of the vendors were not comfortable in singing their goods and the building management did not allow the installation of the bullhorn due to city ordinances regarding noise pollution (at least that was their excuse). When I was recording one of the vendors, a shopper approached me to tell me about recipes that she uses for a particular root. It then occurred to me that if vendors did not want to sing, perhaps they would share a recipe and the audio montage became primarily recordings of market recipes. As the piece would not be projected onto the street via a loudspeaker, I created a sandwich board with a speaker installed into it and wore the sandwich board on the street. In this way, the original concept of the piece was fully realized.

Each artist has her or his own story of how the work needed to be modified for the final exhibition. And in the end, this is the nature of collaboration.

Ricardo Miranda Zuniga

“Recetas y Gangas: The Essex Street Market Recordings” with mock up of originally proposed installation of bullhorn on the facade of the market

FAILE at the Brooklyn Museum

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FAILE

“FAILE: Savage/Sacred Young Minds” at the Brooklyn Museum is the epitome of hipster art. It’s fun, participatory, ambitious, cool, but lacks substance. I enjoyed the work visually and appreciated the nod to rock posters and arcades, but as with the video games presented, the work is not layered or nuanced or provocative. (The video games are worth playing for only a minute as they are more so about hip graphics and chirps, than game play or social commentary as much of game art is.)

FAILE

FAILE

“Temple,” a sculptural structure reminiscent of a classical temple or mausoleum in ruin is the most striking work. The ceramic and iron work is highly detailed. At the rear center where one might find an alter is a male torso with a horse head wearing goggles and an oxygen tank. It is an end-of-times idol. An ironic creature more foreboding than an object of worship. The beautifully detailed work is unfortunately riddled with kitsch and self-labeling as the name “FAILE” is embedded in the work. I suppose that the kitsch as well as the identity stamped throughout the work is a critique of consumer culture. Unfortunately the identity FAILE is so prevalent in the work that the art itself becomes objects of consumer culture, hip, cool to look at, but one walks away with nothing. Perhaps that is the goal.

FAILE

FAILE

FAILE

Two recent sculptures “Wolf Within” and “Fantasy Island” are monuments to youth culture – white, hipster youth culture. Not surprisingly, FAILE – Patrick McNeil and Patrick Miller are a couple white dudes based in Williamsburg.

FAILE

FAILE

There is so much craft and attention to detail that I want the work to tell complex tails, but it is also such a cacophony of stuff that the work lacks an anchor, a base to reflect upon and allow me as a viewer to traverse. As soon as I start enjoying one tableau, I’m jolted by some kitsch material lifted from a 50’s movie poster or pulp book cover.

FAILE