chicago

Larry Achiampong, Glyth 4, 2013, digital montage on C-print, 21 1/4 × 28 3/4". From the series “Glyth,” 2013–14.

Larry Achiampong

Logan Center Exhibitions, University of Chicago

Larry Achiampong, Glyth 4, 2013, digital montage on C-print, 21 1/4 × 28 3/4". From the series “Glyth,” 2013–14.

THE LAST IMMIGRANT IS IN CAPTIVITY THE GALAXY IS AT PEACE reads one of the blackboards constituting Larry Achiampong’s #OPENSEASON, 2016, installed on the wall’s of the Logan’s main gallery. The words, furiously and repeatedly scrawled in chalk, may recall Adrian Piper’s Everything #21, 2010–13, but Achiampong is invoking the opening words of the 1990s Super Nintendo game Super Metroid. Substituting the word immigrant for Metroid (the game’s jellyfish-like aliens), the artist intermingles vintage gamer culture and Brexit-era xenophobia, in a gesture that encapsulates the oscillations between the analog-versus-digital, private-versus-public-media-shared and ironic-versus-genuine modalities that mark his practice.

Curated by Yesomi Umolu, “Larry Achiampong: Open Season” showcased the artist’s impressive range of media and sources, if perhaps including fewer of his virtuosic experiments

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