The Guggenheim Museum’s current retrospectives of artists On
Kawara and Monir Shahroudy Farmanfarmaian entice the audience to explore and
reflect upon these artists’ work. Paul Chan’s exhibit Nonprojections for New Lovers, however, leaves the viewer yearning
for a manner in which to engage with the installation.
Photo Courtesy of David Heald, Guggenheim Museum
Curator
Katherine Brinson states that the newly crowned recipient of the 2014 Hugo Boss
Prize has made a “visionary contribution to the field of contemporary art.”
Chan’s multifaceted installation features his pursuit of essential elements
such as a light and absence. A case holds books of erotica with titles such as How to Train Your Virgin, produced by
Chan’s publishing company Badlands Unlimited. Across the space, a meditation on
movement and shadow presents itself as four white nylon tubes that wriggle and
dance in response to wall-mounted fans. Cement-filled shoes rest on the floor, strung
together by electrical cords connected to projectors that project nothing. Adamant
about separating political activism from his artistic practice, Chan’s
presentation feels inconclusive. Devoid of images, the installation emphasizes
Chan’s response to image-driven consumer culture.
Photo Courtesy of David Heald, Guggenheim Museum
Nevertheless, Chan receives attention from the very commercial
industry he challenges. Exhibition reviews appear in publications such as W Magazine and The Collector Tribune, illustrating the prestige of the Hugo Boss
Prize. Photographs of Chan’s imageless pieces now packaged for consumption raise
doubts about the sincerity of his intent.
Photo Courtesy of David Heald, Guggenheim Museum
Hi Jessica-- I couldn't agree more. How are we supposed to engage with these works? They are deliberate "nonprojections," but this quality makes it hard for us to find the substance, and wonder if there is any to begin with. What is the "visionary contribution?" Is his response to image driven consumer culture to simply produce works devoid of images? You are entirely correct in questioning his intent. If he is so critical, what is he doing to change the culture? Using the same methods of communication as the consumerist culture in order to distribute his critique? That seems hypocritical. Only one suggestion for your re-write, maybe offer a criticism of the books behind the plastic as a another way the viewer is unable to connect to substantive content?
ReplyDeleteJessica,
ReplyDeleteI think you pose really important points in this post. Especially about the relationship between artist and spectator in these works. The only way they really engage the viewer is by creating some sort of confusion, at least that's how I felt in the room. I like how you brought in some outside sources, but I would suggest maybe expanding more on your middle paragraph and your descriptions of the pieces. The descriptions were completely on point, and I'd suggest maybe showcasing the longing for engagement alongside these descriptions to drive your point home. I think you could potentially cut out the first sentence talking about the other works in the guggenheim to create room to expand on what I just stated.