Brought together under a vaguely literary pretext with apocalyptic undertones, some of the works assembled in Metro Pictures summer group show “A New Ballardian Vision” are nevertheless worth a visit. Under the direction of Shanghai-based curator Leo Xu, artists are strictly divided by gallery affiliation: Meto-Picture artists command the larger downstairs space and Leo Xu Project gallery artists are shown upstairs. The show opens patriotically with Robert Longo’s shiny warped aluminium mirror flag from 2015, moves along Trevor Paglen’s ominous color study of the San Quentin State Prison from 2016, stops by Jim Shaw’s Hanging Legs with Toes Bitten Off, turns to three works in Cindy Sherman’s ill-boding Disaster Series from 1987, takes a funny detour with Camille Henrot’s Study For Nightmare from 2017, before heading upstairs to explore the angst and misery of our Chinese compatriots. Here the calamitous push towards a new tomorrow and the resulting take-no-prisoner urban development is brilliantly explored by a set of Cui Jie’s painting and sculpture of impersonal high rise developments, whereas Pixie Liao’s photograph “In One Dress” laments the loss of individuality as a price for progress. The show lingers briefly on those left behind by the boom in Cheng Ran’s single channel HD video before ending with a ray of hope in Cheng Wei’s monumental photograph “Light Box”. Here is Martin Kippenberger’s “Lonely American in the corner who is not allowed to speak”. At Metro Pictures through August 4.

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