The Museum of Modern Art presents a retrospective of the multifaceted work of composer, musician, and artist Björk. The exhibition draws from more than 20 years of the artist’s daring and adventurous projects and her seven full-length albums—from Debut (1993) to Biophilia (2011)—to chronicle her career through sound, film, visuals, instruments, objects, costumes, and performance. The installation will present a narrative, both biographical and imaginatively fictitious, cowritten by Björk and the acclaimed Icelandic writer Sjón. Björk’s collaborations with video directors, photographers, fashion designers, and artists will be featured, and the exhibition culminates with a newly commissioned, immersive music and film experience conceived and realized with director Andrew Thomas Huang. Continue Reading
Nostalgia’s a strange habit for an undead creature, but that doesn’t stop Adam, a vampire rocker in Jarmusch’s latest, from keeping a curmudgeonly lament on permanent simmer. People—i.e., humans—just never learn when it comes to preserving culture, or the Earth. His pale partner, Eve, retains a sense of wonder, and patience, and she knows how to flick gently at his pessimism: “How can you have lived so long and still not get it?” Yet theirs is still a “marriage of true minds,” to quote Shakespeare, or Marlowe, as Jarmusch playfully has it, in this tender, and perhaps personal, romance.
Adam (Tom Hiddleston) and Eve (Tilda Swinton) belong to each other but they also belong to a rare breed, revived. If Jarmusch filters the West through Blake in Dead Man and remixes samurai codes in Ghost Dog, here he taps the conceit of the vampire as oldest-of-old-school hipster, communing with artists across the ages. When the nocturnal film begins, drone rocker Adam is laying low in the photographically popular ruin of Detroit. Eve leaves bohemian Tangier to join him in his crumbling mansion pad, crammed with rare guitars and vinyl. Adam knew Byron; he and Eve were dead before it was cool. For bloodwork, the couple drinks only “the good stuff” with druggie abandon; a hypnotic opening overhead shot is a ringer for a scene of post-high bliss. The biggest downer is when Eve’s kid sister visits from (shudder) LA and wrecks everything.