Mike Kelley’s exhibition at Hauser & Wirth begins in a
dark room with resin casts of retro-futuristic cityscapes lit from below in
different colors, depicting different versions of Superman’s birth city on
Krypton, Kandor. In another room megalopolis is displayed, along with bell jars
and vacuum tubes, representing Kandor’s fate to be saved only by Superman’s
cunning. A nearby corridor contains lenticular images that shift between empty
jars or disconnected tubes and versions of Kandor. This series is preceded by a
disturbing image of clowns, which is revealed to be from the film playing in
the final room.
While the film plays, visitors can walk through its set and
props: the ruins of Superman’s Fortress of Solitude. Inside the desolate pile
of stones that make up the Fortress are the remains of Kandor: a final miniature
city glowing within a bell jar ventilated with vacuum tubes. It illuminates an
enclave of gold and jewels, however these riches are abandoned, as is Kandor,
suggesting Superman will not return.
In the film, the Fortress is inhabited not by Superman, but
by Victorian clowns enthusiastically sexually abusing a captive woman. The
villains are the victors, and the hero does not save the day—a morbid, if not
refreshing take on the superhero story.
Hi Sophie,
ReplyDeleteI really like how you guide the readers to the exhibition from the entrance to the corridor and to the final room. It really gives the reader a feel of how the space is designed and what to expect while walking in this eerie, dark space. Although the review provides a good introduction into the whole exhibition, I think you could choose one specific part to focus and write about, and how the "literal and emotional darkness" adds to the discomfort and the artist's interpretation on superheroes. Perhaps you can talk about how the artist utilizes the the ambient lights, sounds effects and the materiality of the sculptural works to interpret the popular culture/his intentions.
Hello Sophie,
ReplyDeleteI enjoy your walkthrough description, however I feel some parts may be unclear. I found each room to possess a different visual lexicon—like a group show of various artists because the styles were different. I wonder if others felt similar, and question this. I agree that the filming installation room to be eerie and discomforting, but I wonder if you thought about the idea of watching violence and occupying the same space of violence. Understanding your description of the exhibit’s narrative, I am unclear of what to take away from this show, the intention, and your position on it?