In it, the singer, prowls the characteristically phantasmagorical Icelandic landscape in an Iris van Herpen dress. The video was filmed in 2014 in Iceland, a sort of homecoming for Bjork, who has spent a lot of time living and working in the US. The ten-minute clip was commissioned by MoMa and directed by Andrew Thomas Huang. Of these the first one plays the video for Black Lake from Bjork’s new album Vulnicura. I suppose they were meant to give likeness to form, but they simply freak you out, Chucky style.ĭownstairs from Songlines there are two soundproof rooms devoted to Bjork’s videos. What is unforgivable is the poor display of the artifacts – the constricting space does not allow you to properly take in what’s on display, and some things are poorly lit, an unforgivable technical mistake that simply should not be made by a major museum.Īnd whomever thought that the Bjork-like mannequins were a good idea should perhaps consider a career change. The above, if you are charitable, can be forgiven as miscalculation of creative nature.
If a hundred or so journalists were feeling cramped, Songlines will certainly be challenging once the exhibit opens to the public. Lingering is further complicated by the narrowness of the maze, which will certainly result in grumpy calls to move along. It was supposed to be some fairytale like Bjorkian lore, which I doubt many listeners will take seriously.
Unlike the one at the Bowie show whose synchronicity was akin to magic, this one just babbled on. The audio-guide is one of the most misguided things about the exhibit. This is quite optimistic, considering that it took most journalists about fifteen minutes to examine the whole thing. Songlines comes with an audio-guided tour, which instructs you to linger in the maze for forty minutes. The costumes are also noteworthy, especially the belled dress by Alexander McQueen, the iconic Airmail post Tyvek jacket by Hussein Chalayan, the Swan dress by Marjan Pejoski (of course), and the plastic dress by Iris van Herpen that Bjork wore for her 2011 Biophilia album.
#Bjork debut moma full
Of these the most brilliant are the robots from the 1997 video for “All is Full of Love,” directed by Chris Cunningham. This is especially evident in the main part of the exhibit, the mazelike pavilion called Songlines with chronologically arranged artifacts from Bjork’s career, which include artwork, notebooks, costumes and video props. Bjork’s is intimate, perhaps too much so. I’d like to see Madonna at the Met next.īowie’s exhibit was expansive. As museums are beginning to exhaust their fashion fetish, music is the next unchartered territory with enough material to last them a few decades. Though I am loath to draw comparisons, this time it is warranted, as I think we are witnessing a birth of the new museum exhibition genre. This crowd-pleaser was first shown at the V&A museum in London, went on to Chicago, and opened in Paris this Tuesday. The exhibit comes on the heels of the one devoted to another pop avant-gardist, David Bowie. Since Bjork’s first solo album Debut (1993) she has occupied that portion of cultural space that is hard to define except as an oxymoron – pop avant-garde. This Sunday a new exhibit devoted to the work of the Icelandic singer Bjork will open at the Museum of Modern Art in New York.
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