cristine wang on 6 Jan 2001 01:22:03 -0000

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[Nettime-bold] NY Times Review by Holland Cotter of Dystopia + Identity Exhibition out on newsstands today!!!

a light snow is falling in new york city, as i
walk the 5 blocks to the local newsstand in the
greenpoint section in brooklyn, and for 75 cents
pick up today's copy of the nytimes.
congratulations to all the artists who made the
show possible!         xoxo<cristine wang>

[from The New York Times, January 5, 2001 
"Art in Review" Review by Holland Cotter]

"Dystopia and Identity in the Age of Global 

Tribes Gallery
285 East Third Street
East Village
Through Jan. 13

Old-style alternative spaces, where disciplines 
messily collide and visually anything goes, are a
dying breed in Manhattan. Thread Waxing Space in
SoHo still holds the proud banner high, as is
evident in its group show, the bracingly anarchic
"Death Race 2000." And so, on a more
intimate scale, does Tribes Gallery, which is 
host to exhibitions, jazz concerts and poetry
readings in a second-floor railroad- style flat
between Avenues C and D.

Tribes's latest offering has ambitions as big as 
the venue is small. Organized by Cristine Wang,
it squeezes itself into three rooms, climbing
up walls and spilling from shelves. Three dozen 
or so international artists, several well known,
jostle for attention. Some make out better than
others, but all get to have their say, at least
when the audiovisual components are up and
running. (The gallery will be happy to turn on
whatever looks off.)

Where to begin? A Mike Bidlo piece near the front

door, with a print of Duchamp's infamous
"Fountain" pasted on a page from the Manhattan
phone book, sets a Dadaist tone for much of what
follows, while digital prints
by Betty Beaumont and Shu Lea Cheang establish 
the Internet as the prevailing source of imagery.
Verbal communication gets a comedic workout
in photographs of the Chinese artist Zhao Bandi 
chatting up a toy panda and in seductively nutty
audio pieces by Mark Amerika and Tina LaPorta.
Networking assumes dire implications in the 
conspiracy-theory charts by Mark Lombardi, who
died in March, while politics take a dystopian
plunge in rough-hewn propaganda posters by the
estimable Peter Fend. ("Puppet for Prez," reads
one.) Christoph Draeger's video compendium of
fiery explosions provides apocalyptic spice and
is neatly complemented by a Roxy Paine meltdown
sculpture and an attractive puzzlelike painting
in orange and purple by Jeremy Stenger.

The whole show, in fact, feels like a disjointed 
puzzle, or maybe a conversation in which a bunch
of smart, quirky voices are headed in different,
sometimes arcane directions. The voices don't
mesh, but they produce a strong collective buzz.
And that buzz will go live tomorrow night when
Ms. Wang leads a panel of artists, critics and
curators in a discussion titled "The Presentation
of Online Art in Physical Space."

(Reviewed by Holland Cotter, The New York Times)


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