Just caught two shows of contemporary art and installations, breaking up the familiar galleries at SFMOMA. I was pleasantly surprised by both of these shows.
New Work: Zilvinas Kempinas, Alyson Shotz, Mary Temple
through Nov. 4 (Second floor)
I’ve already mentioned the awesome work of Zilvinas Kempinas here. At this show featuring work dealing with light and perception, Kempinas presents a site-specific installation of VHS tape attached to the floor and the wall, forming a huge, shimmering slope of black stripes. I may have to retract my statement that I’m not one of these people who likes a work wherein the more you look at it, the more there is to see. But Kempinas’ tape installation provides a wealth of optical illusions—vibrations, moirés, interfering shadows, grids of tape and shadow—which were pleasing to discover. Though one could argue that this installation falls into the category of media art using media relics, it has a stronger relationship to op-art, and consequently seems more open-ended than some media art objects.
Mary Temple contributes a subtle, effective trompe l’oeil installation miming cast window light, complete with silhouettes. She used latex paint on the walls, and stain on hardwood floors. However, the telltale additional layer of hardwood flooring over the museum’s floors gave away some of the almost-invisible process. It is what it is.
Alyson Shotz’s installation of clear beads on giant abstract wire forms was tightly constructed. It was a cool, massive installation that can only exist in behemoth galleries and museums. Still, it was not as dramatic as I had expected it might be. I don’t think all art has to be beautiful, but any abstract form playing with light seems to me to be clearly about beauty and perception, and this one fell a little short for me. I can’t figure out if it was the lighting, or if my expectations to be dazzled (or beadazzled? harhar.) were too high. Maybe I’ve been blinded by one too many beaded installations by Liza Lou?
Room for Thought: Alexander Hahn and Yves Netzhammer
Through Oct. 5 (Fourth floor)
A strange and wonderful installation of multiple video projections, sculptural objects and wall painting. In the center of the darkened space, a table sits on the ground with its legs hooved in oversized glasses; the rectangular center of the tabletop is pulled out by two ropes, forming a swing-like appendage to another twin table that hoovers, hardware hidden, in the air. Oversized ventilation pipes house a series of projectors, whose videos feature Virtual Reality-style animations of mannequin-like figures in unsettling abstract environs. I understood immediately that the doll-like bodies facilitated the telling of a deeply psychological and disturbing story. But the multiple elements were highly choreographed, and I wasn’t able to experience it all in my short visit, though I’ve got lingering spookiness to mull over.