The New Museum: Arrivederci, Piggies! 

   Diego Marcon’s exhibit, Arrivederci, Piggies!, is announced by the lack of light, the glass doors to this space a disturbing blood-red. The room inside is consumed by maroon, the floors padded by a crushed velvet carpet of the same color. Four large screens stand in the middle of the show while viewers take their seats in the director’s chair. Four films play in a sequence, one active panel while the others remain in a quiescent state, “waiting their turn” so to speak. The show consisted of these four films, which act together as a theatrical fable, utilizing spotlights and decorative entrances reminiscent of a stage set. The films are narratively gruesome, depicting childhood memories of domestic violence in the medium of CGI animation and live-action film. The work retains a refreshing stylization in For The Parent’s Room (2021), depicting extreme flesh disfigurement on the actors’ faces.

The exhibit serenades its audience, suddenly bursting out into musical fits, overwhelming the room chorus and a haunting Americana orchestra. For instance when viewing Fritz (2024), as the hung boy sang I found myself turning my head, being guided by foley; a flicker of a lighter, a bird’s song, and the strain of a fabric noose. I give credit to Marcon for his seamless integration of animation, live action, and sound design for this specific space. The singular failing of this exhibit is the literal lyrics, “I took the life of my little son” feels incredibly on the nose, which ruins the work the enigmatic visuals provide.