SUPERFLEX, "Bankrupt Banks"
Previous
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Merrill Lynch acquired by Bank of America, September 14, 2008
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Fannie Mae acquired by United States Federal Housing Finance Agency, September 7, 2008
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / BankUnited FSB acquired by BankUnited, May 21, 2009
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Roskilde Bank acquired by Danish Central Bank, August 26, 2008
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Kaupthing acquired by Icelandic Financial Supervisory Authority, October 9, 2008
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Colonial Bank acquired by BB&T, August 14, 2009
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / CajaSur acquired by Banco de España, May 24, 2010
-
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / BankWest acquired by Commonwealth Bank of Australia, October 9th, 2008,
Next
Courtesy Peter Blum
SUPERFLEX, Bankrupt Banks / Merrill Lynch acquired by Bank of America, September 14, 2008
Time Out rating:
<strong>Rating: </strong>1/5
Time Out says
Tue Mar 20 2012
Consisting of a series of banners hung from the ceiling, displaying logos of failed banks, the latest outing by the Danish trio SUPERFLEX is derived from a cool idea that suffers from too much coolness. The result is a puzzlingly staid offering from this artist collective, known for its punchy examination of the financial mayhem of our times.
The banners lack the agitprop verve and dimensional range of SUPERFLEX’S recent efforts, such as Power Toilet, a replica of the JPMorgan Chase executives’ bathroom, now installed for posterity at a Lower East Side diner, or their video of a McDonald’s slowly filling with water. Instead, the new pieces are underwhelming (bank logos, like the people who run them, are numbingly bland) and all too readily recall Matt Mullican.
It could be said (as indeed the gallery statement does) that the installation—presented more or less in chronological order of institutional demise—acts as a timeline of our recent economic cave-in. It could also be argued that the artists have injected obsolete emblems with new life. Likewise, one could compare the show’s soullessness to capitalism’s heartlessness, and its moribund effect to the present state of Europe’s and America’s economies.
But such readings are generous: The work is a far cry from the complexity and guile we’ve come to expect from the supple minds behind SUPERFLEX. Unless, that is, the show’s self-inflicted failure is actually meant to echo Wall Street’s own.
Share your thoughts
Comments
Add +