Did either of your learn anything today that you didn’t already know about Björk?ĮWA: I learned, thanks to the “Black Lake” video, that Björk has a deep connection with rocks. I feel like if this were a show celebrating a male musician, we’d get more than just dresses and music videos - which, although they look awesome on a big screen in a comfy makeshift theater, are, after all, available to watch at home on your computer. JS: This is probably just me being me, but I can’t help but wonder if there’s a bit of sexism at work here. I think her videos and the collaborations she’s done with artists and designers - everyone from her former partner Matthew Barney and the Dutch duo Inez van Lamsweerde & Vinoodh Matadin to Alexander McQueen and Marjan Pejoski - are worthy fodder for a museum show, but this one is so conceptually compromised and flimsily assembled that I spent most of today’s preview in disbelief that I was actually at MoMA. That lack of anything even remotely informative about her work and creative process is what, for me, made it not just an underwhelming exhibition, but a seriously bad one. Iris van Herpen, ‘Biophilia’ Dress (2011) (photo by Benjamin Sutton/Hyperallergic)īS: Agreed. What were some of your favorite future Hard Rock Café artifacts from the show? That being said, there were a couple of objects upstairs, in the “Björk: The Ride” portion of the show, that I really liked. Do we start with the good or the bad? How about both? The good, for me: I left more into Björk as a musician than I’ve ever been before! The bad: holy hagiography.Įlisa Wouk Almino: The good: I got to see Björk in person dressed as a cactus. (She was there for three minutes, partially visible behind lots of journalists.) The bad: I think my headset told me that to feel like an underwater jellyfish is to experience a higher mode of being.īenjamin Sutton: For me, the only good part was the exhibition’s lower level, where we got to watch her music videos.
Jillian Steinhauer: WELL, that was interesting.
Bjork debut moma skin#
Here, a discussion of the show.įrom left to right: Bernhard Willhelm, ‘Volta’ Tour Dress, The Icelandic Love Corporation, Second Skin (2004) and Wild Woman Voodoo Granny Doll Crochet (2007/15) (photo by Benjamin Sutton/Hyperallergic) It’s unclear how familiar we are with her now. None of us editors was very familiar with Björk before (Hrag, who is the Björk fan among us, couldn’t make it).
Bjork debut moma series#
The show consists of a number of scattered components: instruments used in the making of Biophilia (her 8th album), on view in the lobby two custom-built boxes/theaters that show, respectively, the new MoMA-commissioned video for “Black Lake” and a looping retrospective of her music videos and an installation called “Songlines,” which features dresses, props from videos, and notebooks in a maze-like series of rooms, accompanied by a 40-minute “experimental sound experience” called “The Triumphs of a Heart” that mixes Björk’s music and a fictional fairy tale. This morning, three Hyperallergic editors - Elisa Wouk Almino, Jillian Steinhauer, and Benjamin Sutton - ventured out to see the Museum of Modern Art’s (MoMA) latest foray into avant-garde pop star curating: Björk (an exhibition that needs no subtitle). Alexander McQueen, Bell Dress (2004) and Hrafnhildur Arnardóttir, aka Shoplifter, ‘Medúlla’ hair piece (2004) (photo by Benjamin Sutton/Hyperallergic)
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