Is it really 22 years ago that Björk appeared on the world stage of pop music
Where “appear” not even? able to capture some extent, which meant the beginning of his solo career that was born in Reykjavik in 1965, the daughter of a trade unionist and environmental activist. Björk Gudmundsdóttir created with their eight albums since then a cosmos acoustic transgressions. You linked dance beats with the minimalist rigor of Philip Glass, nordic folk music bollywood esque strings, the staccato of boleros with the electric pulse from the synthesizer. “When Karl Heinz converted the electricity into sound, he lit a sun that is still burning and will glow for a long time,” she acknowledged in 2008 in the “Guardian” Karlheinz Stockhausen. Björk’s music is danceable, it stirs the soul and makes them think. In the realm of contemporary pop empress she is.
And then her videos! Björk omitted ravend on a truck, in the heart of Manhattan (“Big Time Sensuality”). Björk as cartoon character Betty Boop-style with a grotesque pandemonium admirers flirting (“I Miss You”). Björk, while singing slowly transforming into a digital polar bears (“Hunter”). Or speak as a thread that unravels itself (“Unravel”). Björk is always forefront, where image and sound art venture into new territories, and it attracts the mass audience with spirit, charm and wit of his comfort zone
So it is sad how lightly the Museum of Modern Art in New York awards the chance to give this extraordinary artist a worthy exhibition. The show, which opened on Sunday and runs to June 7 (www.moma.org), consists of three parts: a room where you can watch Björk’s best music videos in a loop; a dark, poorly ventilated room where her new, specially produced for this show song “Black Lake” projected on two walls to be considered also as a video and hear is; and a labyrinthine installation called “Songlines”, which should lead by Björk’s work history.
This part of the show is particularly offensive. The visitor is equipped with an audio guide sent by an acoustically and visually as well as demanding on absurd maze. From the headphone audio guides slimes, entwined with beats and scraps of various Björk song, a text of the Icelandic writer Sjón entitled “Triumph of a Heart”, which tries to tell the life Björk in the form of esoteric whispering children fairy tale. This ominous purring use prose drips not only from kitsch and clichés, it also does not create a deeper understanding of the development of this versatile artist. In this case, there would be much to discover here. Björk is classically trained, she puts her own music into notes, as displayed in glass cases Notebooks show. As it builds up their music? What relationship is contrary to the videos? How does it work with designers? These are the questions you stay here alone
The unpleasant greasy voice from the earphone meanwhile urged to pause, if you advance too quickly. that makes a Bluetooth system of the sponsor Volkswagen possible. But what should we stop here? To reflect upon the dozen of Björk costumes that are exhibited here on mannequins so, as you know from ancient ethnographic museums where exotic Wilde are presented in banana skirt? This calls for a maximum of 20, not programmed for 45 minutes.
The suspicion arises that the MoMA merely staged a cheap spectacle to delight in a thorough dealing with art and its time disinterested audience. An audience that you will still frustrating to: access to “Songlines” is limited for reasons of space to about 50 people per half hour, time cards will be sold out quickly
would have liked to be asked Björk, but except for brief words of thanks. she spoke wrapped in a costume that was to unravel as either a cactus or as Stalagmitengebilde, they kept a low in the preview for the international media. The demand of the “press” the MoMA why you while a representative of the Volkswagen Group A platform offered, but not the artist herself, went unanswered
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(“Die Presse”, print edition, 07.03.2015)
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