Exemplary of Enwezor’s new locus are projects like A Trans-African Worldspace by artist organization The Invisible Borders Trans-African Project. Located near the end of the Arsenale, the documentary effort catalogues road trips taken by participating artists across borders and wide swaths of the African Continent. Still to debut this Friday is the first of a series of films made by “emergency cinema” documentarians Abounaddara, an anonymous collective based in Syria that has been tracking the atrocities unfolding in the country since 2010.
The two represent larger documentarian tendencies across “All the World’s Futures.” The exhibition clearly makes a point. But it does so by showing, not telling. Enwezor uses a vast series of case studies to highlight the negative conditions and overwhelming precarity created by our late-capitalist society rather than setting up a series grande and prescriptive conceptual projects. Low points in the show are just such pieces, expressly set out to prove something or actively change behaviors rather than letting the viewer come to the conclusion on his or her own—Adrian Piper’s The Probable Trust Registry: The Rules of the Game #1–3 (2013) sticks out as one of these.