• Michaela Melián, Lunapark, 2012, slide projector, record player, slide, glass objects, motor, particle board, stretcher frame with rear projection foil, with sound, 106 1/4 x 47 1/4 x 76 3/4".

    Michaela Melián

    Galerie Barbara Gross

    If anything is clear today about the era of modernism, it’s that it was divided against itself. The utopias of the avant-gardes now seem contaminated by their totalitarian leanings, while Fascist and Nazi art and architecture can seem shockingly modern—and not just from a purely technical standpoint. The simple dichotomy between good and evil, modern and antimodern, is no longer credible. So how can a politically critical visual artist who also feels committed to a (Habermasian) project of modernity, as Michaela Melián surely does, deal with her ambivalence?

    This dilemma is crucial to Melián’s

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