The Emperor's Pretentious New Clothes
What do you do when you read the press release for an exhibition, study the catalogue with Talmudic intensity and still cant figure out what the purpose of the show is? Such was the case for me upon seeing Nina in Position at Artists Space in Soho. The exhibition seems to embody everything that is pretentious and laughable about the contemporary art scene. Obtuse and self-serious, the first line of the press releaseNina in Position presents diverse artistic strategies that complicate the legibility of lack and difference in Americashould have been a tip off. Some of those words just dont make sense together. Perhaps a metaphor for the exhibition?
The show is chock full of blue-chip contemporary artists but is weighed down by too many big concepts that just dont make for a coherent exhibition. The juxtaposition of a Robert Mapplethorpe photograph of two bare-chested men dancing together with Lisa Tans silly sculpture of three houseplants (dimensions variable) is supposed to illustrate sculptures mercurial qualities by examining materiality, transience and the process of making. I dont think so.
Individually, there are some interesting sculptures. Michael Queenlands surreal and vaguely sexual mixed-media pieces stand out as genuinely intriguing. An elegant assemblage of materials by Jack Pierson is quite affecting.
Mostly, however, all of this super-trendy contempo art looks ho-hum together. Its like a shopping list of hot ideas: Youve got your piece about race (Barkey Hendricks), your gay piece (Mapplethorpe) and your transgressive materials piece (Anya Gallaccios sculpture of blood, glass and rock salt). Nothing looks fresh. In the always- contemporary words of Gertrude Stein: There is no there, there.
Nina in Position through March 29. Artists Space, 38 Greene St. Fl 3. (at Grand St.), 212-226-3970; Tues., Thurs. & Fri. noon-6; Wed. noon-8; Sat. noon-5, free.