Adding to the eeriness, skeletal projections of extinct animals converse about the “last man” in the midst of this elite survivalist environment. While this stark lineup of video screens efficiently deconstructs the alt-right provocateur’s verbal and visual rhetoric, it largely avoids engaging with the emotional vulnerabilities of the people he exploits.Ĭonstituting the whole of Planet Escape, Corrupted Air-Act VI (2019), by Holland’s Femke Herregraven, resembles a sleek, hi-tech panic room, a so-called billionaire’s bunker, complete with bedframes, monitors, and ambient soundtrack. Planet Security is largely dedicated to the Dutch artist and scholar Jonas Staal’s dissection of the propagandistic films of Steve Bannon. The exhibition unfortunately falters when contending with the reactionary forces recently working against globalization. Mika Rottenberg’s video Cosmic Generator (AP), 2017, imagines a wormhole between a Chinese restaurant in Mexicali and a wholesale plastics store in China, replicating the ease of movement of goods and ideas in which the globe-trotting, New York-based, Argentine-Israeli artist herself partakes. Visitors are invited to use magnet boards to rearrange the papers, thereby extracting their own narrative of the event, in which some 200 civilians were slaughtered, and their own war-crimes dossiers. In a collaborative installation, two French contributors, Franck Leibovici, a poet and artist, and Julien Seroussi, a former analyst at the International Criminal Court, present ICC documentation of the 2003 Bogoro village massacre in the Democratic Republic of Congo. Other contributors employ a globalized aesthetic, such as mainland Chinese artist Cui Jie, who offers hyperkinetic paintings of postmodern architecture, and Taiwan’s Huang Hai-hsin, whose cartoonish paintings and drawings capture crowded commercial activities or, as in the case of After Art Basel (2020), their sobering aftermath. The Los Angeles-based design collective MILLIØNS, for example, has compiled an analysis tracing the global supply chains behind Mies van der Rohe’s Seagram Building in Manhattan. The artists on Planet Globalization, as Latour and Guinard call the first section, try to render visible the abstract notion of a worldwide economic system and culture.
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