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@comedyofmenace

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ELEMBO: 16/10-31/10,
@exoduscrooks @darryl_daley @mai_ye
at @bronckobianchi

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por jesus | multi-collaborative installation “Somewhere between 1979 and 2033 in South Brooklyn, at the edge of Sunset Park and Park Slope, all the Courtyard Saints found and lost their Block in one lifetime” | ʚїɞ

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Wall Drawing #10 — Approximately 30,000 black, red, yellow and blue price stickers.

On view until Oct. 4th @bronckobianchi curated by @comedyofmenace

“At the end wall of Broncko Bianchi, Sean Weisgerber’s Wall Drawing #10 breaks with the established format of its series, wherein price stickers are usually fixed to walls within a geometrically precise grid. Instead, Weisgerber enlists the curators to fix thousands of £ 0.00 price stickers in black, red, yellow and blue by hand in an undulating pattern that compounds tiny errors over ever so many hours of ever so subtle movements. Borrowing its formal framework (and colours) from Sol LeWitt’s Wall Drawing 797, Weisgerber draws on a legacy his practice equally borrows from and critiques: that of mid-20th century Conceptual art. LeWitt’s work starts with the artist making a line in black marker at the top of the wall, followed by others tracing it with red, yellow and blue. In using price stickers priced to the value of the work (nothing) instead, Weisgerber departs from the collaborative and instead embarks on a Sisyphean effort highlighting the nexus of artistic labour and commercial value. LeWitt’s Wall Drawings are frequently accompanied by timelapses (film’s whimsiest form?) made by museum PR departments. Ham-fistedly conjuring a cheery sense of communal creation, Weisgerber’s decision to highlight the (non)value of the work paints the masking of invisible labour as participation and collaboration as exploitation and exhaustion instead. Resulting in undulating peaks and valleys compounded over 4 days of meditative install work, the primary colours in play turn into a semi-psychedelic mosaical tapestry, closer to the exhausting efforts of medieval craftsmen than the perceived brilliance of Modernist icons and putting the work in artwork.” – from “Grinding” exhibition text.

📷 @oncle_douglas

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CHARLIE JIMENEZ:
LUX RITUS - Film Screening + Live Performance

Tickets in Bio (Eventbrite) - 12th October, Monday - 6pm

@comedyofmenace is pleased to present ‘LUX RITUS’ an evening of films and performance by Charlie Jimenez at Broncko Bianchi. The title meaning “LIGHT RITES”, each work shown emerges as a ritual of maturing and transformation, ending (literally or metaphorically) with light - light that blinds, light that burns, light that unveils, without discrimination, but indeed with force.

The films will be introduced by the artist, followed by a Q&A and their performance piece February 30th, 1956 made in collaboration with @autojektorx with live music by @joshjsc_.

18:00 - Doors
18:15 - Introduction
19:00- Film Screening
19:30 - Q&A
20:15 - Performance

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With the summer heat slowing coming to an end, what better way to spend the week ahead than gallery hopping? Here’s a selection of this week’s show openings, all taken from our new Plaster Guide. Head to the link in bio for the full list and more.

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NOW OPEN: Jesus Vasquez: Somewhere between 1979 and 2033 in South Brooklyn, at the edge of Sunset Park and Park Slope, all the Courtyard Saints found and lost their Block in one lifetime

📍 @bronckobianchi
East London
Until 20th August 2026
Free entry

COMEDY OF MENACE hosts Brooklyn-born, London based multimedia artist Jesus Vasquez’s (@bruh.cuh) installation, which was recently presented at his graduate exhibition at the Royal College of Art, London.

Vasquez’s ambitious, multi-collaborative installation is a hyper-politicised recreation of the green walls that usually surround New York construction sites.

He interrogates the otherwise minor gestures – wanted posters, graffiti, construction permits – that line these walls, turning New York itself into a stage and battleground for local, national and global politics.

Many of the reappropriated materials point towards the silent, violent displacement of longtime residents of the city who, over the course of decades of divested state funding from public welfare, poverty policing, and a perpetually unliveable economy, have been forced to move. Here, buzzwords such as “gentrification” are less of an abstract concept and more an ongoing force shaping real people’s real lives. The installation presents the NYPD as an overfunded military oppression force that continues to treat New Yorkers as unneeded, unwanted, and untrusted. Moreover, it counterbalances established narratives of political oppression by honouring generations of migrant working-class New Yorkers through personal archive images and a large-scale graffiti mural of Vasquez’s Colombian immigrant family painted by Ramone “K” Anderson.

It is a barricade, an (auto-)ethnographic study, a memoir, a poetry collection, a library and a shrine.

#blkartmap #JesusVasquez #blackart #graffiti

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Install shots of Morning routine by Flora Fee Mayrhofer @florafee.at
Curated by yours truly
At: broncko bianchi @bronckobianchi
three weeks ago

Thank you comedy of menace for the invite! 🥰@comedyofmenace

Morning Routine 2026
UV print on vinyl adhesive film, tape, book cover film

and

Morning Routine 2026
leftover cutouts of the production of a few hundred fake magic cards as props for a TV movie, book cover film, lights on their lowest dimmer, sound of the ventilator, paper floor
the lenght of the spaces walls, hung on the eye level of the artist and the curator

Last slide: The exhibition text
/ Miley Cyrus Morning Routines throughout the years.

📸1 and 9 by Douglas @oncle_douglas

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MONEY BINDS THE WORLDS OPPRESSORS
IT WILL NOT BIND US.

EL DINERO UNE A LOS OPRESORES DEL MUNDO.
A NOSOTROS NO.

المال يربط ظالمي
العالم، لكنه لن يربطنا.

כסף קושר את מדכאי העולם
הוא לא יקשור אותנו

This message is brought to you by the New York Vanguard.

Designed and Printed by me.
Printed On RISO

Images are found photographs of an IOF solider, “anti-terrorist” NYPD officer, and recently fired ICE commander Gregory Bovino.

On August 1st in Bethnal Green, London, my first solo show, “Somewhere between 1979 and 2033 in South Brooklyn, at the edge of Sunset Park and Park Slope, all the Courtyard Saints found and lost their Block in one lifetime” presented by @comedyofmenace

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Big thank you to @comedyofmenace and @kro_ni_ki for hosting such a breathtaking show! ♥ the measure of all things (and those that are not)

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„Infrastructure is made out of time insofar as infrastructure is that which repeats. The repetition is normalized into everyday routine, and when it stops functioning, an aperture is cut into its artifice—through which history and power relations can be seen.“

From: Between Not Everything and Not Nothing: Cuts Toward Infrastructural Critique, 2017
-Marina Vishmidt

Flora Fee Mayrhofer
Curated by Samuel Witt
Invited by @comedyofmenace at @bronckobianchi

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We're pleased to announce that the measure of all things (and those that are not) has been extended and is now on view until the 15th. Time to catch up on your homework for those of you who haven't.
DMs open for appointments.

Above: Theodore Wilkins-Lang, Revelation, year(s) unknown, 2025. Silver gelatin print, 104cm x 81cm.

Our thanks once again go to:

@isabellezetterstrom
@lladyrouge
@ewelinkadochan
@theo.wilkinslang.studio

Installation view: @oncle_douglas

Exhibition realized with support from @studentartmarket

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#comedyofmenace

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