Dan Jakubowski

  • Joiri Minaya, Siboney, 2014, HD video, sound, 13 minutes 20 seconds.
    picks March 10, 2017

    “Rotative Repository of Latin American Video Art: Mono Canal”

    This group show from fifteen Latin American artists presents an impressive and sometimes deeply affecting series of video works that is hampered by an ill-conceived and amateurish exhibition approach. Given that the videos rotate over a total running time of nearly two hours on a single LCD screen in the Museo’s café, the show’s title is appropriate, though the quiet intimacy evoked by many of the works calls for—and deserves—a more sophisticated exhibition style that would give each work its own space to subtly operate on its viewers. Margarita Sanchez’s As I Inhale, 2013, a mysterious and

  • Zina Saro-Wiwa, Barisuka Eats Roasted Ice Fish and Mu, 2014–15, digital video, color, sound, 5 minutes, 22 seconds. From the series “Table Manners,” 2014–15.
    picks February 14, 2017

    Zina Saro-Wiwa

    Questions of ecology lie at the core of Zina Saro-Wiwa’s exhibition, though her approach to the subject includes more than addressing the natural environment. The show features works produced by the artist since 2013, when she moved from Brooklyn to her birthplace of Ogoniland, in the Niger Delta region of Nigeria. Her photography and videos represent a reconnection to and an exploration and celebration of her homeland, even as it suffers dramatic environmental degradation from rampant oil extraction. Karikpo Pipeline, 2015, a multichannel video presented across five LCD screens, envelops the

  • Basim Magdy, Expanding the Universe, 2008, acrylic, spray paint, and gouache on paper, 15 x 20".
    picks January 30, 2017

    Basim Magdy

    Basim Magdy’s retrospective at the Museum of Contemporary Art in Chicago is the Egyptian artist’s first large-scale exhibition in the United States. Collecting a number of his psychedelic films, drawings, and photographic works from the past decade, the show offers a view into Magdy’s career-spanning fascination with dystopia, hope, and visions of futures that never came to be. From the strangely subdued neon hellishness of his early drawings to his newer experiments with “film pickling,” the artist’s term for submerging his photographs in chemicals to achieve riotous color effects, the works

  • View of “Wael Shawky,” 2016–17.
    picks November 27, 2016

    Wael Shawky

    Wael Shawky’s serial film project “Cabaret Crusades,” first presented in its complete form in 2015 at MoMA PS1, maintains its macabre ability to fascinate and horrify at the Castello di Rivoli. For his one-man show at the Castello, Shawky produced an entirely new site-specific environment for the films, with two of the three projected in bubble-gum pink facsimiles of medieval fortresses that forcefully occupy the venue’s cavernous top floor. Grotesque in appearance but comically subdued in their dramatic presence, the puppets that populate Shawky’s films commiserate, betray, and murder their