final assignment

This is the Walead Beshty’s glass cubes. These clean cut and fragile objects have been shipped by the artist from LA, where he lives, to London, where he was born, in tightly fitting FedEx boxes. Arriving smashed, cracked, and with corners crushed to varying degrees they're displayed on their boxes, their properties as objects arising in large part from the accidents in their shipping. The title of this piece gets longer with each showing, the name being a trace of the journey the works have undertaken - a travel itinerary which produces and describes the pieces. 

This is appear to be Altermodern which has FedEx culture come in to play. These large glass cubes that bear the marks of their travels between the artist and a variety of destinations, are like the scars of environmental damage or the dangers of too much traveling on the human soul. The corners are cracked, the glass is broken and they seem sad, lost and rather beautiful.

Gupta’s spectacular Line of Control (2008), a huge atomic mushroom made of stainless steel 
kitchen utensils, not-so-subtly evoking the nuclear threat on the sub-continent, provides a focal point for this visual abundance. In the other rooms, the atmosphere is slightly more contained, but the feeling of raw energy remains. 


It introduces the show, suggesting the idea that this is a defining starting point, a show presenting new directions, and one that wants to leave old paradigmatic sets at the door. Line of Control is a gigantic installation that reverses the idea of negative atomic destruction into one of positive explosion of abundance.


This work is a real "Altermodern" because it is focus on the movement of the current world which involve with global and technologies. 

Mike Nelson’s installation “The Projection Room (Triple Bluff Canyon),” an immersive environment suggestive of a parallel world. The room is a life-sized recreation of the artist’s studio in the front room of a Victorian house. It looks as though someone has left the place in a hurry, leaving all evidence of their life behind. It’s impossible to not look for clues in the detritus, though the exercise is complicated by the room’s denial of entry to the viewer, shifting the experience on many levels, drawing a strict grid of allowances from the artist creating rules about what may be real and what may be imagined.


This seems to be "Altermodern" which focus about our nature. But in "Altermodern" encompasses the global, networked, intercultural existence many of us now live in and some of us are immersed in, I cannot see it in this work.


Therefore, this is not "Altermodern".