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Erik Bulatov House, 1992; Seva’s Blue, 1979; Russian XX Century, 1998-99; from The New Museum

Erik Bulatov’s House (Dom), completed in 1992, just months after the collapse of the Soviet Union, could serve as an emblem of the kind of time slip that is everywhere present in Ostalgia, New Museum Director of Exhibitions Massimiliano Gioni’s love letter to the art and artists of the former eastern bloc and the contemporary artists who remain fascinated by the latter.  Running vertically down a background of photo-based, faded Kodachrome colored sky cracking with Baroque rays of light one ‘reads’ the three large block letters of the Russian word for ‘house’: ‘дом’.  The painting as a whole mobilizes familiar pictorial tropes, such as tensions between surface and depth, image and text, form and content, but there is something more to House than this.  It recalls, rather, those kitschy credits from 1970s science fiction movies—think Zardoz (1974), or Logan’s Run (1976), or Solaris (1972)—with their equal mixtures of techno-utopianism and environmento-Wagnerian romanticism.

The point here is not to saddle Bulatov’s work with some particular iconographic resource but rather to note that those films themselves, their aesthetic and their narratives, were, like Bulatov’s paintings and much of the best work in Ostalgia, products of the cold war, which was everywhere itself a product of collective fantasies and fears and desires.  The future, back then, was a contest played out on the field of the present with the weapons of history, both personal and political; and SF offered some of the most compelling diagnoses and representations of that contest, precisely because the horizon of time that formed SF’s core orientation was also the horizon that organized the two super powers’ dueling collective projects.  And as with capitalism (but notably not democracy) the modern nation state was for socialism merely an exit vehicle, one that could eventually be discarded when the working class or consumer, as the subject and so the inevitability of history, traversed the globe…

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Younger Than Jesus, The New Museum’s “Generational” opens this evening.

The approach here is an interesting one, coming as it does on the heels of an art market that appeared to fetishize youth. But the curators of the new triennial, Laura Hoptman, Mas Gioni, and Lauren Cornell, assure us that what the show is meant to offer is a “snapshot” of a specific generation that for some time now has simply existed either as a catchphrase (“Millenials,” “Generation Y”) or as a demographic group for marketers. For Gioni, Younger Than Jesus is an attempt to show this generation of artists as “producers,” ones for which, as Hoptman noted, the curators have created “no ‘ism,” which is to say no conceptual corral that might makes sense of what it is that this generation of artists is up to. (That seems like a good idea, except when you remember that the very notion of a “generation” is itself a conceptual problem, though the curators and others unpack the idea in one of the shows two accompanying catalogs; more on the second one in a moment). Hoptman demurred that they (the curators, the Museum) would “leave the assessments to the sociologists, to the marketers, and to the future,” which is a nice way of confirming that they (the curators, the Museum) believe the show (and this generation) is worthy of assessments to begin with…

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I’ve just updeated the Articles and Reviews pages to now include pieces on Naomi Harris and Jeffrey Inaba, as well as Laleh Khorramian and The New Museum’s show, After Nature.