2018 Triennial: Songs for Sabotage at New Museum, February 13, 2018 – May 27, 2018

Photographs by Corrado Serra.

“More than ever, images dominate our reality. The artists in “Songs for Sabotage” treat art as a form of propaganda that turns images on their head in order to reveal the ideologies and built worlds behind them. This tendency echoes the historical notion of sabotage, in which actors impede modes of production from the inside to disturb their normal function. These artists share a concern that entrenched powers of colonialism and institutionalized racism continue to exacerbate inequity. They respond by mapping the violent and isolating effects of these powers on bodies and communities, and by producing objects and images that memorialize individual acts of resistance. They make interventions into cities, infrastructures, and networks embedded in everyday life, proposing objects that might create common experience and disrupt these systems of control.

The artists in “Songs for Sabotage” offer models for dismantling and replacing the political and economic networks that envelop today’s global youth. They are further connected by deep engagement with the specificity of local context, addressing communities and landscapes from Hong Kong to Johannesburg to Athens. At the same time, they adopt a critical examination—and embrace—of the internationalism that links them, finding common cause as a generation living under a shared condition of precarity. Their works range widely in medium and form, including painted allegories for the administration of power, sculptural proposals to renew or destroy monuments, and cinematic works that contend with the ways identity is mobilized in our current era. Viewed in ensemble, these works provide models for working against a system that constantly threatens failure.” — Introductory Wall Text

Installation view of 4th floor

Tiril Hasselknippe, Balconies (støp i meg, støp), 2018.

Front: Diamond Stingily, E.L.G., 2018. Back: Series of artworks by Wilmer Wilson IV , 2017

Installation view of 4th floor

Gresham Tapiwa Nyaude: If you want to help us you need to understand, Part 1 and Part 2, 2018

Front: Tiril Hasselknippe: Balconies (støp i meg, støp), 2018. Back: Gresham Tapiwa Nyaud: left: Privilege of the Bed-ridden, 2018; right: The Red General, 2018

Left & right:  Artworks by Cian Dayrits. Center: Haroon Gunn-Salie, Senzenina, 2018.

Left: Paintings by Zhenya Machneva. Right: KERNEL (Pegy Zali, Petros Moris, and Theodoros Giannakis), As you said, things resist and things are resistant, 2018

Zhenya Machneva: left to right: CHP-14, 2016; Project: Landscape # 1 @ “On/Off”, 2012; Guillotine, 2018

Left: Paintings by Chemu Ng’ok. Right: Violet Dennison, M.O.O.P., 2018

Chemu Ng’ok: left to right: In Denial, 2016; Be-friend, 2017; Reflections, 2017; The Boundary Wall, 2017

Violet Dennison, M.O.O.P., 2018

Matthew Angelo Harrison, Prototype of Dark Silhouettes (detail), 2018

Matthew Angelo Harrison, Prototype of Dark Silhouettes (detail), 2018

Left: Painting by Dalton Paula. Right: Paintings by Tomm El-Saieh

Installation view of 2nd floor

Front: Daniela Ortiz, Burn el hielo, 2018. Back: Dalton Paula: left to right: Enfia a faca na bananeira, 2017; Pedrinha miudinha, 2017

Front: Daniela Ortiz, This land will never be fertile for having given birth to colonisers (Esta tierra jamás será fértil por haber parido colonos), 2018

Installation view of 2nd floor

Left: Claudia Martínez Garay, Cannon Fodder / Cheering Crowds, 2018. Right: Julia Phillips, Fixator (#1), 2017

Claudia Martínez Garay, Cannon Fodder / Cheering Crowds, 2018

Hardeep Pandhal, Black By Day, Red By Night (Mood Board), 2018

“Songs for Sabotage” is the fourth edition of the New Museum Triennial, an exhibition series dedicated to emerging artists from around the world. The exhibition is curated by Gary Carrion-Murayari, Kraus Family Curator, and Alex Gartenfeld, Deputy Director and Chief Curator at the Institute of Contemporary Art, Miami, with Francesca Altamura, Curatorial Assistant.