Adam Cruces, ‘Vertigo’ (2008)
Check out his website for more nice videos, such as ‘Shane (After Jack Goldstein)’, a remake of Goldstein’s 1975 video.
Adam Cruces, ‘Vertigo’ (2008)
Check out his website for more nice videos, such as ‘Shane (After Jack Goldstein)’, a remake of Goldstein’s 1975 video.

A definite highlight (for me) of the Whitney Biennial was the work ‘We like America and America likes us’ (2010), by The Bruce High Quality Foundation.
With its title and form referring to Joseph Beuys’s performance ‘I like America and America likes me’ (where Beuys was picked up from the airport with a Cadillac ambulance and brought to the gallery, where he lived with a coyote for three days) an old ambulance stands in one of the rooms of the Whitney, a film playing on its windshield. The film is comprised of different clips taken from youtube videos. The female voiceover tells us about her difficult relationship to America, while it is constantly unclear whether America is a man, a woman, a lover, a friend, or really just the country.
The original video that’s shown on the windshield of the ambulance.

I saw Sexy Neighbors play live at The Charleston, NY, last Monday.
Below are three songs from their album ‘Dream Out’, which is currently growing on me…
Check them out!

Seen last Friday at Gregor Podnar in Berlin; Ariel Schlesinger’s solo show called ‘Reverse engineering’. Although not many works and not all of them as good; a nice show, with quite some energy!

Centennial Society (Packard Jennings), ‘Walgreens coupons’
This coupon is made to be inserted in the Walgreens EasySaver Catalog available every month at Walgreens, a chain of superstores comparable to Walmart.

Alex Hubbard @ Whitney Biennial
The other highlight for me was the video ‘Annotated Plans for an Evacuation ‘ (2009) by Alex Hubbard.
In the video, Hubbard continuously alters the look of an old, used Ford Tempo. He does this with styrofoam, plaster and spraypaint in a way that makes it seem like he has a very clear plan for the make-over. However, over the course of the video, the purpose for his alterations becomes increasingly unclear, while their pointlessness becomes ever more clear.
The video, as installed at the Whitney.