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I DO NOT THINK I CAN CONCEAL my immense admiration for Manuel Borja-Villel (or Manolo, as his friends and collaborators call him), and, in truth, I do not think that I should. So there: I have long considered Borja-Villel the best curator-director of any museum of modern and contemporary art that I know of, by a long shot. The man is indefatigable: During his fifteen years directing Madrid’s Museo Reina Sofía (from January 2008 to January 2023), he personally curated, shepherded, or hosted (and edited) 207 exhibitions. And of course it is not the quantity of shows that matters but their stunning
POSTCARDS, FAXES, AND EMAIL PRINTOUTS lie wanly in a vitrine. A plywood shelving unit holds rows of informational leaflets. One gallery wall is plastered with graphs and charts. Another is covered in hundreds of seemingly identical photographs. On a bank of video monitors, talking heads are explaining something. In a darkened corner, a slide projector clunks slowly through a carousel of images. Nearby, a 16-mm film whirs alongside a soporific voice-over. An illuminated table is covered in papers and newspaper clippings marked up with Post-its. Every object on display is accompanied by a lengthy
Two museum shows opened in February about art and technology that, combined, span the last seventy years and present some of the different discourses surrounding the convergence of these two fields. I’ll Be Your Mirror: Art and the Digital Screen, curated by Alison Hearst at The Modern Museum of Fort Worth presents nearly every contemporary medium from paintings and installations to games and face filters in an expansive exhibition of fifty artists across twelve sections touching on some of the major psycho-social outcomes of our mediated landscape. Coded: Art Enters the Computer Age 1952-1982, curated by Leslie Jones at LACMA includes prints, video, textiles and sculptural objects that admirably present a historical trajectory of artists’ experimentations with the possibilities of computational devices across those early years, when design limitations foregrounded composition and structure. Those constraints also contributed, occasionally, to a kind of didacticism, for which the field remains frequently derided.
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