Zoe Whitley

1 OKWUI OKPOKWASILI AND PETER BORN, POOR PEOPLE’S TV ROOM (NEW YORK LIVE ARTS, APRIL 16–22, 26–29) This astounding ninety-minute performance, with riveting choreography by Okpokwasili and a live-feed set designed by Born, traverses women’s embodiment of memory and resistance, with references to the 1929 Women’s War in Nigeria, in which Igbo women asserted their rights against colonial rule; the 2014 Chibok schoolgirls’ kidnappings; and Oprah (here an acerbic metonym for aspiration). Undoubtedly the most affecting work I saw in the past year.

Okwui Okpokwasili and Peter Born, Poor People’s TV Room, 2017. Performance view, New York Live Arts, April 18, 2017. Okwui Okpokwasili and Katrina Reid. Photo: Ian Douglas.

2 “THE INFINITE MIX” (THE STORE, 180 THE STRAND, LONDON; CURATED BY RALPH RUGOFF) This is how time-based media should be exhibited: sonically, visually, and experientially. Truthfully, I lost myself (and an entire day!) in this Hayward Gallery pop-up, between Jeremy Deller’s hypnagogic collaboration with Cecilia Bengolea and works by Stan

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