about the exhibition
New Works 05.2
New York, NY
July 07–September 11, 2005about the artist
Anton Vidokle engages modernist traditions in works that explore the persistence and failures of utopian ideals. His public projects activate iconic elements of the urban landscape, while related installations and publications employ print media, photography, and film to extend the works’ resonance beyond site specificity. In keeping with his dialectical approach, Vidokle acts alternately as artist, interlocutor, and instigator.
Vidokle’s work with logotype decals exposes the commercial and political cooptation of abstract forms once believed to embody revolutionary potential. By distributing stickers of commercial logos converted back into modernist geometries, Vidokle reinserts these once-utopian forms into the social fabric of the city. Popular Geometry, a newspaper series produced with Julieta Aranda in cities around the world, is a forum for debate over the global proliferation of minimalist public sculptures since the 1970s. These journals examine the disparate ways supposedly universal forms are transformed by specific cultural contexts.
Born in Moscow, Russia, in 1965, Anton Vidokle has lived in New York, NY, since 1981. He has had solo shows at Massimo Audiello, New York, NY (2004, 2001, 1999). Group exhibitions include the 50th Venice Biennale, Italy (2003); Musee d’Art Moderne de la Ville de Paris, France (2002); Museo de Arte Carrillo Gil, Mexico City, Mexico (2001); and P.S. 1 Contemporary Art Center, New York, NY (2000).
about the project
Óptica is the third and final component of a project based on Mexico City’s 1968 Salto del Agua metro station, whose status as a modernist logo of social reform was contradicted by contemporaneous civil unrest. Whereas Vidokle’s previous two works transform the building’s façade alternately into an evolving urban portrait and a ready-made billboard, Óptica turns the camera’s gaze inside out.
The first film in the project, Salto del Agua, is a close-up on windows that mirror the chaotic city below. Nuevo, the second work, documents Vidokle’s systematic transformation of the façade from drab grey to bright red, converting its surface into a constructivist composition.
In Óptica, named after the sunglass store across the street, Vidokle recreates the building’s modular surface with a massive grid of sixty television screens. Tightly nestled into scaffolding, each monitor broadcasts footage filmed from the specific window it represents; seven blank screens symbolize inaccessible offices. Fusing interior sounds and objects (typing, tables, blinds) with exterior ones (police sirens, taxis, passersby), Vidokle’s TV grid converts the viewer into voyeur and the street into a site of symphonic discord.
Recalling the narrative fragmentation of expanded cinema, each of Óptica’s videos presents a different portal onto the same block, dislocated from one another in time, if not in space. Refracted through an iconic building, this simulacrum of the city juxtaposes historical utopian intent with contemporary dystopia. Óptica evokes the information and surveillance overload characteristic of our age. It spotlights a place where nothing really happens, yet only architectural infrastructure remains unchanged.
Graduate Curatorial Intern