Alex Da Corte cares, really cares,about television. While the artist’s video shorts, recognizable by their Pantone color-blocked sets and singular attention to sartorial detail, have prompted comparisons to auteurs from Jean-Luc Godard to Wes Anderson, these works insistently burrow into the less vaunted, existentially humble form of entertainment and squat there, patiently awaiting your gaze. Da Corte’s references are not the highly-produced television programming of recent years but rather those of the boob tube and Saturday morning cartoons—the sort one imagines writer, poet and queer icon Eileen Myles refers to in her allusions to the “tee vee” of her childhood. Rubber Pencil Devil (2018), the artist’s latest work, is a looping, two-hour-40-minute stream of 57 highly stylized videos nestled gemlike in an immersive, open-plan neon funhouse installed at the 57th Carnegie International on view through March 25. . .