Issue No. 28 – Control

What is the nature of control? The desire for it—and to be free of it—are essential parts of both life and art.

Tony Oursler at the MoMA

Tony Oursler at the MoMA

By Riley Ryan-Wood

Tony Oursler. Still from Imponderable. 2015–16. 5-D multimedia installation (color, sound). 90 min. © 2016 Tony Oursler. The Museum of Modern Art, New York. Acquired in part through the generosity of Jill and Peter Kraus.

Tony Oursler. Still from Imponderable. 2015–16. 5-D multimedia installation (color, sound). 90 min. © 2016 Tony Oursler. The Museum of Modern Art, New York. Acquired in part through the generosity of Jill and Peter Kraus.

There’s a lot happening this summer on the MoMA’s second floor — we’ve already been awed by Nan Goldin’s“Ballad of Sexual Dependency,”  and we’re happily looking ahead to a solo exhibit by Teiji Furuhashi. But currently, our attention is captured by Tony Oursler and his mesmerizing cinematography. 

Imponderable, touted as a “5-D” experience, incorporates a full length film for the eyes and a multitude of extraordinary effects for the other senses. The film features a colourful cast of characters, including Sir Arthur Conan Doyle, Harry Houdini and Oursler’s own ancestors.  The artist’s dark and psychedelic archive, which spurred the film, is also on view. 

The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, MoMA. 

The show will be on display until January 8th, 2017. For more information see: http://www.moma.org/calendar/exhibitions/1650?locale=en

Tony Oursler. Still from Imponderable. 2015–16. 5-D multimedia installation (color, sound). 90 min. © 2016 Tony Oursler. The Museum of Modern Art, New York. Acquired in part through the generosity of Jill and Peter Kraus.

Tony Oursler. Still from Imponderable. 2015–16. 5-D multimedia installation (color, sound). 90 min. © 2016 Tony Oursler. The Museum of Modern Art, New York. Acquired in part through the generosity of Jill and Peter Kraus.

Article © Riley Ryan-Wood

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