Exhibition Inquisition

The stuff you look at, but don't see.

SUPRASENSORIAL

with one comment

Museum of Contemporary Art

There is a pool in this exhibition; do you need more of a reason to go?

I could write about this exhibition, or you could watch this video. Don’t worry; the usual snarky commentary will follow.

The video is kind of amazing right? Like who even needs to see the exhibition now?  You do, because it’s awesome, and is by far my favorite show in Los Angeles this winter.  Also, doesn’t the video look kinda too good, like was it shot in HD? Did they CG?  And all those “museum visitors” look like they had to audition for those roles.  (MOCA collaborated with [slash paid?] production company Team G on the video.)

Not only was Suprasensorial my favorite, but with only five works, it was also the smallest.  To be fair the works are large, so large you get inside of all of them, the way you’re supposed to.  This show is way cooler than Without You I’m Nothing, and is actually interactive.

The five artists in the show are not of the same generation, but they are all, “united in their approaches to art making, radically embracing light, color, and space as materials.” They are also linked in that all of the works, “require the active participation of the viewer.”  See doesn’t this sound fun!

Who owns refabrications?

The works (with the exception of Jesús Rafael Soto’s Penétrable BBL bleu, 1969, which is a 1999 refabrication), are reconstructions of the original works built specifically for this show.  Of these four, three will be destroyed when the show ends because they are made of drywall.  The exception is Fontana’s Struttura al neon per la IX Triennale di Milano, 1951, which probably won’t be destroyed, but shipped to Hirshhorn where the show goes next.

When was the last time you were in a pool in a museum?—NEVER!

The highlight of the show for me was Hélio Oiticica and Neville D’Almeida’s Cosmococa-Programa in Progress, CC4 Nocagions.  Sure it’s a novelty, but come on! MOCA build an indoor pool! (The water, lights, projections and sounds are apparently enhanced by cocaína.) LA code demands any pool deeper than 18 inches must have a lifeguard on duty, and there is indeed a MOCA lifeguard. This is why the pool in the outer peristyle garden at the Getty Villa is 17-7/8 inches, not as deep as J. Paul Getty wanted it to be, but just short of requiring a lifeguard. (Although a lifeguard dressed in a toga sounds like a good idea too.)

MOCA lifegaurd, not in a toga.

The show is presented by the Fundación Jumex, with major support from the Andy Warhol Foundation, collectors Mandy and Cliff Einstein, generous support from life trustee Betye Monell Burton, France Los Angeles (Flax Foundation), Lathi and Gary Cypress, and the Consulate General of Brazil, Los Angeles.

– H.I.

Didn’t see this in-person, but who did?

P.S. Above is a shot of the Blu mural before it was white-washed; the only trace of it that remains are some streaks of green paint on the asphalt of the parking lot. While the Andy Warhol Foundation isn’t a funder of the upcoming Art in the Streets show, it does give money to other MOCA exhibitions, like Suprasensorial.   I wonder if MOCA could expect a letter similar to the one the Smithsonian received from the Foundation.  Are the situations similar enough?

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One Response

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  1. Hmm…a carb-free me is going to check that swimming pool out for sure

    Woody

    January 19, 2011 at 6:42 PM


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