New York

View of “Lex Brown,” 2019. From left: Sync, 2019; Animal Static (detail), 2019; New Codes, 2019.

View of “Lex Brown,” 2019. From left: Sync, 2019; Animal Static (detail), 2019; New Codes, 2019.

Lex Brown

The Kitchen

Lex Brown’s exhibition “Animal Static” was a dizzying, attention-span-fraying fun house of irony and gloom—just like the internet. The projectors and spotlights in the exhibition were activated by spectators via motion-sensor technology (when you stepped back from a work, for instance, its sources of illumination immediately dimmed). And in the case of the comedic three-channel video that gave the show its title (all works 2019), the content progressively degenerated into stretches of visual and linguistic glitching.

Animal Static lays out sundry narratives that take on content producers, tragic addictions, and niche businesses built upon the flimsiest of premises—allegorical meditations on America that, though absurd, aren’t so divorced from our current reality. On one wall, GIF-length clips made up a neo-western drama for smartphones titled Elephant Hill, featuring a tired-looking cowboy

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