Recently by Brent Burket
Courtesy of CANADA
Swirly Music
Brian Belott
CANADA - 55 Chrystie St, New York NY
29 November 2007 - 20 January 2008
"Go back to those gold sounds"
--Pavement
The 70s felt like the end of wanting, at least for a little while. Like a Carpenters' song, it was a lie, but it was nice while it lasted. Brian Belott's work touches on that gauzy itchy time. The era came burning through in the faded color of the found photographs I saw in a group show at Joymore in 2005. And now here it is again innocently (and sometimes not so innocently) consuming the space in his new show at CANADA, Swirly Music.
It should be said that I was more than a little worried when I saw the big, garish cats. Were they found paintings with some masterful glittery strokes applied by the artist? Across the room from the paitnings rest two Twin Tower like structures: dual, ostensibly random stacks of old hardcover books each support a television set on top, which in turn support a digital picture frame, the old media supporting the new(ish) and the new. These are the skeleton keys to Swirly Music. The two sets constantly play a stream of network IDs and TV movie intros that set the mood for the show, while the digital frames rotate through a series of Belott's found photographs — rhythmic and slow compared to the blown out colors and emphatic montage of the TV Land. The photos cover the spectrum from the odd rec room snapshot to a lost nudie of your neighbor's wife.
CANADA's big space is lined with colored clothespins and keys. The clothespins look like a continuous keyboard, while the keys made me think of Stevie Wonder's Songs in the Key of Life. That and the contents of a bowl at the door of a key party. The paintings in the room are exuberant homages to groovy posters and caricature. They initially looked like something done by an excited kid in a high school art class, and yet there is an emotional center that kept pulling me back in. The different pieces in the room worked their collective charms on me, and made me, well, a little swirly. That feeling was augmented by the soft soothing sounds coming from the bank of gold-painted speakers on the wall. It was light mood music that was as dedicated and focused as the show. Perfect.
I'm not sure why Belott keeps returning to the "gold sounds" of memory, but I'm always thrilled that he does. Art this specific in its mood is nothing short of a miracle. Don't be fooled by the fact that you can buy pieces of Swirly Music to take home. This show is one big landscape of memory. The paint, glass, fur, clothespins, keys, and TVs are just the colors and hues Belott busts out to show you what he's seeing from behind the canvas. And what he sees is beautiful, wistful, and a little goofy. A rec room long gone, all played out. Only the memories and the soft strains of a distant music remain. Ray Coniff and Henry Mancini would be proud.
Ensemble
The Institute of Contemporary Art, University of Pennsylvania
118 South 36th Street, Philadelphia, PA
7 September - 16 December 2007
Thwang, bonnngggg, thwap, clink-clink, and "Hello, Yoko."
These are just some of the sounds you'll hear and one of the things you might get to say at Ensemble, a show of sound art curated by Christian Marclay at the ICA in Philadelphia. Marclay's has let the sense of whimsy that informs much of his own work do the same for the exhibition, letting that spirit run deliciously rampant for this show of 27 artists.
But as usual it's not all fun and games with Marclay. The assault of so many pieces in one room provides a tension that soars and eases depending on the number of visitors in the room. More subtle works share the space with louder, one-trick-ponies (but what tricks!). Some pieces are interactive while some are on their own; yet, all roads lead to sound. The works that are interactive (about half of them) imply that the titular ensemble isn't complete without an audience.
The doorway to this sonic feast is Mineko Gimmer's gentle, but hefty, gauntlet, Bamboo Forest. In sharp contrast directly in front of the entryway is Jon Kessler's paranoid Sniper #10, in which surveillance technology is used to immediately recontextualize the image of the viewer to disorienting effect. Two other unsettling, albeit hilarious, works are Dennis Oppenheim's Attempt to Raise Hell and Yoshi Wada's The Alarming Trash Can, both of which were a blast to watch to observe as museum goers discovered the surprises they held. Less assaultive surprises await in Doug Aitken's many timbred K-N-O-C-K-O-U-T, and Katje Kölle's Staccato (americano). Evan Holloway's Victory Song is the simplest and most elegant of Rube Goldberg's with only one action involving a brass ball rolling on a rack with the sound focused through a phonograph horn. The spirit of Ensemble is best exemplified by Yoko Ono's Phone Piece, a phone on the wall that Ono calls occasionally to speak with whoever happens to pick up the receiver.
Carsten Nicolai at Pace Wildenstein
534 West 25th St., New York, NY
October 5, 2007 — November 3, 2007
Fuck drugs. Carsten Nicolai has been altering my brain on a cellular level with his sounds for over ten years now. I was well-chuffed when I heard about his exhibition of sound and visuals at Pace Wildenstein on 25th Street. I've read about his installations, but I haven't had the pleasure of experiencing them first hand. His sound work has always reminded me of the vibrant edges of a Jo Baer painting from the 60's or 70's, dealing out perceptual challenges both beautiful and expansive in their simplicity and directness.
