• Tod E. Gangler, Seattle, 1983.

    “Speed Limits”

    The Wolfsonian | Florida International University
    1001 Washington Avenue
    September 17, 2010–February 20, 2011

    Canadian Centre for Architecture (CCA)
    1920 Rue Baile
    May 20–October 12, 2009

    Curated by Jeffrey T. Schnapp

    In a show that holds up the CCA’s usual intelligent standards, Stanford Italianist Jeffrey T. Schnapp presents his angle on the centenary of Futurism by examining the legacy of its most fervent dream. We can expect not only streamlining and hygienic bodies but also—among the show’s 240 works including videos, photographs, posters, and collages—ruminations on city and country, information architectures, “24 frames a second,” and chemical stimulants. Explicit in Schnapp’s framing of the exhibition—and in the multiauthored catalogue-cum-reader that accompanies the show—is a critical questioning of the beauty of speed, now vexed by the cost of progress: Our cultural Luddism increasingly poses slow food against fast, “mindfulness” against Benjaminian distraction, and reflection in place of “blink” decisions.

  • Sean Raspet, Arrangement 38 (Crowds and Power) (detail), 2009, vinyl banners, electric conduit, pipe, zinc-plated chain, dimensions variable.


    Museum of Contemporary Art, North Miami
    770 NE 125th Street
    May 21–September 13, 2009

    Curated by Ruba Katrib

    The 2007 “Grand Tour”—a high-octane trek through mega-exhibitions and fairs in Venice, Basel, Kassel, and Münster—was but one peak in the bubble-financed art world’s far-flung, seemingly nonstop, ever grander parade. “Convention,” presented in another city that became a principal stopover for the itinerant hordes, seeks to take stock of recent years’ fairs, biennials, and related phenomena. Local artists (Jim Drain, Gean Moreno, Bert Rodriguez) and their international counterparts (Julieta Aranda, Superflex) will reflexively engage what critic Peter Schjeldahl has termed “festivalism” through, among other strategies, performances, site-specific installations, and collaborations with the Miami community. To jaded ears, such a survey sounds, well, conventional—and, in newly straitened circumstances, possibly anachronistic. But the show nonetheless offers a welcome opportunity for artists and museum alike to reflect on what it means to operate (or to have operated) in such an environment.