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The inability of United States policy-makers to criticize Israel is unsurprising, since undemocratic authority is the bread and butter of American governance. At the most explicit level, millions of legally disenfranchised people who live and work in the United States, immigrants and prisoners, are excluded from having a say in a government that imposes its authority on them.
Charrière’s current ambit is diametrically opposed to the preservationist idea of nature articulated by the American Transcendentalists and neo-Luddites. This is not to say pessimism has won over. The exhibition prods at the ritualistic relationship between man and nature, veering closer to the ideas of the nineteenth-century German Romantics than those of current, activist environmentalists.
Flint, Michigan native Ash Arder’s single-room exhibition, Flesh Tones, is a rhizomatic exploration of the relationship between the artist, her family, and the automotive industry. A focal point of the project is a baby shower Arder’s parents threw at the General Motors Buick City Plant in Flint, where they both worked and which the artist attended in utero.
In 2016, the playwright Sarah Gancher discovered she was following a group of Russian trolls on Facebook. Their username was Blacktivist, and they were paid by the Russian government to spread disinformation about the US presidential election. Gancher found this fascinating. She started thinking about the trolls all the time—what they ate, how they talked—until she realized why she was so interested. “They’re playwrights,” she said. “Like me.”
Clare Schneider is a writer and audio producer from California who currently lives in Brooklyn, NY.