Andreas Petrossiants

  • View of “The Yes Men,” 2021-22. Clockwise from top left: Archimedes Project, 2001; SimCopter game kit (Maxis Inc.,1996); page from Times Business, December 12, 1996. George Avalos, “Fired Maxis code prankster may work on gay CD game”; SimCopter, (Maxis Inc.,1996); pages from New Woman Magazine, 1994: “Barbie Under Siege”; Igor Vamos, advertisements ca. mid-1990s.
    picks February 01, 2022

    The Yes Men

    Stepping up to Carriage Trade’s second-floor glass doors, you’ll see a still from a BBC broadcast with text reading: “Dow accepts full responsibility.” It’s meant to feel like walking into a TV, passing through a mediated image. Thus begins a career survey of the Yes Men (Jacques Servin and Igor Vamos) who have spent decades culture jamming, pranking, protesting, and infiltrating the highest echelons of global neoliberal governance, from the World Trade Organization to Shell Corporation to the Republican National Convention. This blown-up image (Dow Does the Right Thing, 2004), perhaps their

  • Panorama of the City of New York. Photo: Queens Museum.
    slant November 25, 2020

    Housing Works

    A LARGE CHUNK of the Queens Museum is taken up by its most famous attraction: the permanently installed and periodically updated to-scale Panorama of the City of New York built for the World’s Fair in 1964. Commissioned by Robert Moses, the urban planner instrumental in engineering a postwar city that catered to an exclusionary class of day-tripping managers as a growing undercommons transitioned to a service or underground economy, its proximity to a current exhibition on housing injustice and urban planning, “After the Plaster Foundation, or, ‘Where can we live?,’” makes for a rich historical

  • Pier Paolo Pasolini, Il Decameron (The Decameron), 1971, 35 mm, color, sound, 111 minutes.
    film July 16, 2020

    Pox Populi

    BEFORE THE UPRISING, almost all acts had the suffix “during the pandemic” fastened to them: reading groups or online exhibitions during the pandemic, virtual political assemblies during the pandemic, cooking new recipes . . . during the pandemic. Before the initially insurgent revolt against a racist police apparatus—led by Black people, by decentralized formations, by a youth vanguard now in the process of being co-opted by a liberal not-for-profit machine—the Covid-19 pandemic was already understood by many to be the product not only of a virus but of a racialized capitalism that privatizes