A day prior to the opening of Alexandra Navratil’s “Plunge / Soar,” an article appeared in The Economist online suggesting that the low cost of human labor—brought even lower as other automated processes render people redundant—would be the major barrier to the widespread adoption of driverless cars. This interesting—and horrifying—thought has something in common with Alexandra Navratil’s concerns. For the Zürich exhibition, Navratil employs archival film and photographic material, as she has done for previous bodies of work that have focused on the technologies of celluloid, plastics, and applied color in film. Yet the show opens with two prints made from pages of The Economist, titled August 2014 and September 2014 (all works 2014): scanned reports of financial and economic news are superimposed and, from these, the artist has isolated the verbs that translate market movements into physical movements. Even in a publication that prides itself on objectivity, this prose tends to the purple. Prices may “rise and fall,” but they also “tumble,” “thrive,” “yo-yo,” “shoot up,” “surge,” and “rebound.” The words float over the otherwise masked pages, as if they concern only the immaterial processes occurring in a vacuum of their own self-righteous hyperbole. The next work encountered in the …