new-york

Aki Sasamoto, Wrong Happy Hour, 2014. Performance view, November 2, 2014.

Aki Sasamoto

JTT

Aki Sasamoto, Wrong Happy Hour, 2014. Performance view, November 2, 2014.

With its Emeralite-green pendant lamps overhead and its chalkboard sidewalk sign, the mise-en-scène at Aki Sasamoto’s recent performances at JTT’s living-room-size space held the promise of a particularly cozy strain of relational art: the gallery as site for a libation-fueled, slightly sweaty gathering meant to foster conviviality. That impression only grew as the artist—before launching into her signature mix of monologue, febrile live drawing, and interactions with everyday objects—began by serving fresh-brewed espresso while a Stan Getz and João Gilberto track played in the background.

But as it quickly became clear, there was trouble in the air. The piece’s title, Wrong Happy Hour, 2014, had the overtones of a fete gone awry. And those who stayed for the entirety of her performance—she staged the piece publicly three times over the course of the exhibition’s

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