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A arena from “Mark Trade.”

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A arena from “Mark Trade.”

A arena from “Junior War.”

A arena from “Junior War.”

A arena from “Permission Streak.”

A arena from “Permission Streak.”

Photo: Ryan Trecartin-Regen Projects-Spruth Magers

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A arena from “Mark Trade.”

A arena from “Mark Trade.”

Art’s sharpest amusing commentators aback Andy Warhol acknowledge the accompaniment we’re all in

BALTIMORE – It’s adamantine to call the sharp, metallic-tasting ability of Lizzie Fitch and Ryan Trecartin added than to say they accept skewered the zeitgeist. No artists, in fact, aback Andy Warhol accept reflected American ability aback on itself with such a aggregate of hyper-vigilance and basal hilarity.

You may not instantly adulation their work, which takes the anatomy of videos, generally presented in room-scaled installations. They’re frenetic, loud, disorienting and long. In no way do they advertise themselves as “masterly.” But their films, best of which are advisedly accessible online, are added adept than they look.

The Baltimore Building of Art is hosting an exhibition of three of Fitch and Trecartin’s films, anniversary buried central a altered installation. Of the three, the best arresting is “Mark Trade.” You watch it from a stool in a aphotic allowance set up like a antiseptic auberge bar with electric fans, velour rope, carpeting and an ambient, drone-like complete abounding from speakers.

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Mark Trade, the film’s capital character, is a archetypal Fitch/Trecartin creation: Preposterously dressed in shorts and continued socks, he has a aphotic goatee, black eye lenses and albino pigtails bulging through his Lone Wolf cap. He is vain, incoherent, vapid and lascivious, yet weirdly alluring and quick-witted.

All of Trecartin and Fitch’s characters feel hardly unreal. They’re played by absolute bodies (including Fitch and Trecartin), but they assume to actualize the avatars and clones of Internet culture, the “selves” who arise on absoluteness TV or unspool beyond amusing media or YouTube animadversion accoutrement spewing venom, amusement and accidental assertion. Their beard styles, apparel and architecture are egregiously crass, their choir generally sped up to helium angle or decrepit in affected accents.

Mark Trade has hardly added actuality than their added characters. He has to backpack a accomplished film, afterwards all. We assumption bound that he has paid a blur aggregation to shoot him for a documentary about himself. “I like it aback he acts like we assassin him,” says one of the crew. (They abrasion catchbasin acme emblazoned with “WITNESS.”) Trade is unfazed: “I’m on camera, I couldn’t be happier about the absolute thing.”

We see him assuming it up for the cameras in and about National Park day-tripper sites, in an RV, and at a baby beach home in Oregon. Intermittently, there is abrasion amid him and the crew. This astriction (tantrums from Trade, eyerolls and bad-tempered from the crew) becomes allotment of the show’s rhythm.

Trade has his own, post-human reality. He has no core, no self-awareness, no close life. All he wants to do is accomplish afore the camera. “I’m appealing abiding as continued as I’m in advanced of the camera, adorableness ain’t nothin’ to anguish about,” he croons, sweatily.

He does karate kicks, makes bawdy gestures, plays air guitar. From his aperture beck hilarious, absolute statements, active howls, jokes, complaints. “The arrangement I active said there’d be a spotlight,” he barks. But there’s no added weight or activity for aftereffect abaft this affirmation than annihilation abroad Trade says. The alone connected about his apperception is its absolute discontinuity.

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Trade’s crass and cool attendance is set adjoin the accustomed vistas all around. This creates a array of cerebral dissonance, circuitous by the viewer’s acquaintance of watching “Mark Trade” central an art museum, allotment of which has been fabricated over into a auberge bar.

“The animal era went like that, like a sweatshirt on a campfire,” says Trade. It’s one of a cardinal of statements that set the blur in a accustomed future, aback there’s allocution of old realities – animals, humans, attributes – actuality “reanimated.” In advanced of some bison, Trade says, “There’s a adventitious they’ll breathing them again, but that’s to do with advantageous absorption aback then.”

Many of the curve are funny: “We’re absolutely off the griddle.” Or: “Someone invented this autography already and eventually it became at the centermost of this atypical I’m in.” Others are advisedly absurd: “Night eyes alone works on the arctic ancillary of trees.” Or: “You ability accept a brace of bodies accommodating to die for a salad, but best acceptable that was eons afore the bloom era.”

Trecartin and Fitch were both built-in in 1981 and met as acceptance at the Rhode Island Academy of Design in 2000. They accept been accompany and collaborators aback then, although afore 2011, Trecartin was accustomed mostly as a abandoned artist.

When Trecartin was 17, his mother gave him a Sony Handy-cam. Inspired by the “Blair Witch Project,” he acclimated a night-vision lens to blur a week-long ritualized “war” amid the juniors and seniors at his aerial school. He edited it into a movie, “Junior War,” 14 years later.

“Junior War” is the additional of the leash of films at BMA. The ritual circuitous vandalism, binge-drinking, partying and run-ins with the police. We see high-schoolers smashing in mailboxes with baseball bats. The footage is bleared and abounding with menace. Abrupt, absolute things are said, in a address evincing added affair for the acumen of the camera than for how the statements chronicle to absoluteness or to any above-mentioned statements.

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This – the absolute non agreement – has become a affectionate of structural assumption basal all of Trecartin and Fitch’s videos. With their active editing, circuitous layering and breach screens, the films are, amid added things, an advancing antic at the amount of the actual abstraction of “continuity.” Artistically, this puts them in an beat attitude that begins, perhaps, with cubism, develops into the confusing collage artful of Kurt Schwitters and Robert Rauschenberg, and merges with an absorption in gender blurring, apish and psychoual burden acquired from Marcel Duchamp, Claude Cahun and Cindy Sherman.

The third film, “Permission Streak,” buried in a allowance set up as a amalgam of a diving basin and a amphitheater (the accession is alleged “Trigger Rink”), takes aperture to a new extreme. Glamorous adolescent (mostly) women with affected or off-kilter architecture attempt to be accustomed into a accumulation activating that ability aloof as calmly discharge them out. “I can’t handle my body,” says one. “When I chop bottomward a forest, it makes a absolutely loud sound, alike aback no one’s there,” asserts another. “Facts do about-face into opinions and they aroma funny,” says a third. The blur again break bottomward into a active arrangement of central stunts involving wind-machines, spotlights, appearance apparel and affected approach trees.

What are these films cogent us?

Watching them is like actuality at a affair area anybody is aggravating to be heard at once. Which is to say, it’s like actuality on Instagram or Twitter. It may be ambiguous to say they’re “about” amusing media or absoluteness television or the heavily mediated, dematerialized apple we accept to absorb our canicule in. But they are about how all of us chronicle to the apple in this new era: how we accept of ourselves, how we communicate.

The jagged, breathless activity Trecartin and Fitch actualize emerges from the faculty – acutely accustomed to teenagers but conceivably also, increasingly, to politicians, preachers, journalists and agents – that no one is listening. In fact, these films adduce that no one charge listen. We are in era of solipsism, area alert is beside the point and a aberration from the capital game: acquisition followers, brand and comments.

Personality itself in this adventurous new apple has become slippery, broadcast and biddable. Online, in advanced of the cameras, and in circadian interactions, bodies are actively allotment to be bound versions of themselves – to be stereotypes and caricatures – to get the absorption they crave, the after-effects they want. Fitch and Trecartin back all of this.

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Their films abet a ascent panic. The added you look, the beneath euphoric, self-made and chargeless their characters assume and the added they arise to be accountable to assorted kinds of control: the ascendancy exerted by associate pressure, certainly, but additionally by deeper, added structural and adverse forms of power.

The characters’ awkward architecture suggests forms of camp, but additionally a affectionate of haste, affected on them by a capricious, alien authority. Their behavior has both a desolation and a berserk intensity. All of which turns the films’ apparent alertness into article stressful, approximate and relentless. Like what?

Like borough activity in America.

“Lizzie Fitch/Ryan Trecartin”

Through Jan. 6 at the Baltimore Building of Art, 10 Art Building Dr., Baltimore. artbma.org.

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