‘Paul McCarthy: Central Symmetrical Rotation Movement Three Installations, Two Films’ at the Whitney Museum of American Art
Until October 12 , 2008
Paul McCarthy’s new exhibition at the Whitney Museum is a mix of old and new works, video and kinetic installations, brought together with the intent to “use of architecture to create perceptual disorientation in the viewer”.
And it does.
Not only does McCarthy succeed in creating perceptual disorientation, but ‘Central Symmetrical Rotation Movement’ is such a thoroughly confusing museum experience that my friend almost got himself thrown own of the exhibition.
Upon entering the gallery the first large installation on display is Mad House (1999/2000). This work is comprised of a small pine and metal room containing an office chair. The room is mounted on a pedestal that spins the room intermittently at various speeds. In the same utilitarian non-aesthetic as the room there is a large metal box next to the ‘house’ that features old-fashioned buttons with cartoon labels; go, stop, spin, etc.
When Mad House stopped spinning my friend wandered over to the metal box and pressed the ‘spin’ button expecting something exciting to happen…
And it did.
A museum docent came rushing up to him shouting, ‘Don’t touch that!’ My friend jumped back as if the box had bit him, but the docent kept shouting, ‘What are you doing! You’re not supposed to touch that!’
My friend was incredulous in his defense, ‘Are you serious? I thought you were meant to press the buttons.’
The docent was not impressed, ‘What are you a wise-guy or something? You think you’re a wise-guy?’
I have never seen such a passionate display of rule-enforcement in a gallery before. One time at the MoCA exhibition ‘Ecstasy’ I experienced a testy exchange with a man whose job it was to guard a fountain running with liquid LSD; apparently I got too close. However, in general the line between passive-appreciation and encouraged-interaction is pretty clear.
Not so with ‘Central Symmetrical Rotation Movement’.
As the wall text explains, ‘[The exhibition examines] the way the body is destabilized through dislocation of architectural space.’ True. Although the manner in which this dislocation occurs is quite unexpected. My friend’s destabilization was so thorough he left the exhibition in disgust to wait outside. As I wandered through the rest of the exhibition Paul McCarthy continued to surprise with the installations Bang Bang Room (1992) and Spinning Room (2008).
Spinning Room comprises of four large screens forming an open-room the viewer can stand within. Spinning cameras mounted within the room then project whirling images of the viewers back onto the screens. In theory. Unfortunately the Spinning Room was broken, stuck in a loop it projected only one image – a man looking remarkably like the character Steve from ‘Sex in the City’. My destabilization took the form of disappointment.
Bang Bang Room was also broken. Looking like a peeled open version of Mad House, this installation sat unmoving, with pine platform (that you were allowed to walk on) and peeled-open walls featuring half-open doors (that you weren’t allowed to touch). A friendlier docent explained to me when the Bang Bang Room is working the doors open and close, however unfortunately the hydraulics were broken so no bang bang.
The docent then noticed Spinning Room was “working better” and advised I go look. I got a small vanity fix seeing my image jerking around upon the four screens. However, the projection was so blurred and hesitant, intermixed with the rainbow-error bars, the installation felt quite sick. In the context of conked-out and verbal-abuse-inducing art, the other minor works in the exhibition were very tame. McCarthy’s simple black and white videos seemed like a triumph of modern technology and film-making. Which they are not. They are really quite dull.
On my way out of ‘Central Symmetrical Rotation Movement’ I returned to the introductory wall text, hoping it might fill in some gaps between ‘broken’ and ‘yelled at’. This ambiguous statement caught my eye: ‘At the core of McCarthy’s work lies the impulse to question everything.’
To question architectural spaces and our assumptions of them…
To question the role of docents in museums…
To question a museum’s responsibility to care for an artist’s work and ensure it doesn’t break…
To question the artist’s responsibility to create artwork that won’t break…
To question the meaning of art that sometimes doesn’t work and then starts ‘working better’…
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