Considering the New Museum’s technical savvy, one would expect its third triennial exhibition, Surround Audience, featuring post-internet, emerging artists tapped into global culture, to be rife with emoji art, glitchy videos of internet porn, and at least some of the 2014 Whitney biennial’s shock tactics. Especially since the triennial’s co-curator Ryan Trecartin is an artist known for his campy, over the top artworks which have been likened to Facebook having a nightmare. Instead the five floor exhibition,  featuring 51 artists from 25 countries , is understated and idea driven, consisting of muted works with dark undertones.

Most of the works on view traverse perceptions of the body in today’s technologically saturated, globalized world.

Middle Eastern artist Sophia Al-Maria’s three channel video installation Sisters (2014), shows ghostly repressed bodies freeing themselves through dance. Paranoia about militarism and regimes of control, most apparent in Josh Kline’s installation Freedom 2015, including sculptures of Teletubbies dressed as policemen, credit card trees, and a computer generation of Obama, are also prevalent.

The future, however, is the triennial’s most dominant feature. A considerable number of the show’s sculptural installations, as well as the abstract digital prints and Middle Eastern videos works that intersperse them, are portents of what could be. Their subjects vacillate from dystopian and suspicious to utopian and hopeful, presenting various imminent realities in the guise of art. Here, then, are the most futuristic works from the New Museum triennial.

Daniel Steegmann Mangrané’s Phantom, 2015

Daniel Steegmann Mangrane

Tucked away in the second floor is Catalan artist Daniel Steegmann Mangrané’s Phantom, 2015. From afar, the virtual installation seems simple: an Oculus Rift virtual reality headset dangles unassumingly in the middle of two concentric circles. Once you put on the headset things get exciting. The artist used 3D laser-scanning software to map a lush spot in Brazil’s endangered Mata Atlântica rainforest. The work allows viewers to explore the forest as if they are walking through it. As you move around, look up and down; different elements of the indigenous Brazilian landscape reveal themselves, albeit a grainy, colorless, digitized version of the forest. The artist’s pervasive viewing experience highlights the idea that reality is dependent on people’s perspectives. It also makes one ponder on the future of nature and how new ways of seeing and experiencing the world will effect our reality.  

Nadim Abbas’ Chamber 664 KubrickChamber 665 Spielberg, and Chamber 666 Coppola, (all 2014–15)

nadim abbasi

Three grey bunkers, sealed by screens, protrude from the gallery wall. Rubber gloves protrude in and outside a clear vestibule which resembles incubators for quarantining hazardous bodies. The bunkers are filled with familiar domestic objects: toilet rolls and pillows; making them inviting, alarming, and unbearably intriguing. Created by Hong Kong-based artist’s Nadim Abbas the works have an element of post-apocalyptic Hollywood to them, touching upon popular dystopian themes of biological warfare and highly contagious diseases. They are also a personal comment on modern day intimacy.

Juliana Huxtable’s Untitled in the Rage (Nibiru Cataclysm), 2015


Perhaps the most colorful works on display are inkjet self portraits by artist, DJ, and performer Juliana Huxtable or the “cyborg, cunt, priestess, witch, Nuwaubian princess,” as she calls herself. The prints belong to the artist’s series “Universal Crop Tops for all the Self Canonized Saints of Becoming,” depicting the queer, former legal assistant in guises based on black mythology. Surrounded by surreal landscapes with fantastical color palettes, she effectively mixes club kid aesthetics with deeper poetic insights. Her works are precursors of an emerging identity in which categories such as gender, race, sexuality, and age are fluid and open.

Ed Atkins’ Happy Birthday!!, 2014

Ed Atkins' Happy Birthday!!, 2014

This eerie six minute video centers around a melancholy computer-generated avatar with 2016, and other dates, tattooed to his forehead. He utters mysterious numerical phrases and his body continuously degenerates. The work is a meditative piece on our increased immersion with life-like digital images and how this alters what we know of ourselves and the material world. It reminds us to take note before it is too late; that realistic HD images no matter how exact, don’t really exist.

Antoine Catala’s Distant Feel (2014-15)

Antoine Catala's Distant Feel

The French video artist, previously preoccupied with incorporating human traits such as confusion and humor into machines, created an advertising campaign for a basic human emotion instead of a product, an act that seems logical in our increasingly commercialized world. In collaboration with agency Droga5, the artist created a a new symbol for empathy—EƎ, two E’s facing each other. A sculpture of the symbol, meant to be a generational update on the peace sign, is submerged in a fish tank with live coral growing on it, an attempt to inject life into the work.  Catala’s new project has an accompanying website  with more details