'The Condition of Being Addressable,' a new ICA L.A. show featuring works by queer artists, women and artists of color, probes the idea that marginalized people are often invisible or hyper-visible — which can distort perception.
As luck would have it, social media was filling up with a relevant smackdown on the day I went to see the new exhibition at the Institute of Contemporary Art, Los Angeles. During a Senate Judiciarythe day before about the impact of the Supreme Court’s decision to reverse Roe vs. Wade, the landmark case that provided a constitutional right to abortion, Khiara Bridges, a law professor at UC Berkeley, schooled Sen. Josh Hawley on unexpected consequences of the ruling.
Paintings, photographs, sculptures, installations and videos are included, with one and sometimes two pieces per artist featured. Things kick off in the parking lot with a brightly colored, four-panel wall mural by Argentine artist Ad Minoliti, its flat but snappy mix of suggestive geometric and organic shapes said to describe an “/ Non-binary coven.
High up in the corner of one gallery, a small plastic dome with a blinking red light implies the typical surveillance cameras that keep an eye on the comings and goings of art museum and gallery visitors. Aria Dean, however, has pulled a subtle switch: This is a “Dummy Cam ,” not an actual camera, and all it does is idly blink.At least, I think that’s all it does.
Simpson’s “Gestures/Reenactments” was made in 1985, the year Michie was born. The show makes savvy intergenerational points with work by a number of women and BIPOC artists who emerged in the 1970s and 1980s, including Hershman Leeson and Ana Mendieta, the latter represented here by photo-documentation of her clipping a man’s scruffy beard and painstakingly attaching his facial hair to her own chin.One drawback, though, is a general New York/London curatorial tilt in the overall selection.
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