contributed by Djurberg’s collaborator, Hans

Berg (who is also Swedish; b. 1978), enhances

the feeling of whimsy and intrigue that infuses
the carnivalesque atmosphere. Just like carnival,
though, there is a darker side as the work takes
sinister turns to include mutilation, destruction,
and death.
I Wasn’t Made to Play the Son (3.10.17), one
of five videos in Djurberg’s installation called
The Parade, is no exception. After meandering
through the gallery space filled with more than
eighty brilliant hand-made birds of all sizes,
shapes, and colors, one begins to take in the
narratives of the videos. Many of the artist’s
characters are in fact caricatures, identifiable by
their excessive traits. The physical violence of
the pieces—often sexual in nature, perpetrated
against women, or occurring between humans
and animals—is so blatant that it becomes
almost ludicrous. The contrast of brutality
(albeit in clay) in the context of jubilant
entertainment, with bright colors and whimsical
music, creates distinct and conflicting feelings
of attraction/repulsion. A cynical viewer might
leave thinking that art has, once again, imitated
the tragedies of life and made them palatable.
For a politically minded observer, the installation
might raise questions about the treatment of
women, or inspire activism against domestic
violence. Though the intentions and message are
far from clear, Djurberg’s work might be seen as
similar to fairy tales, offering a release from the
challenges and stresses of daily life. Installation
Many contemporary artists continue
practices established from previous artistic
styles, movements, or individual approaches.
Minimalism comes to mind when viewing the
work of American Tara Donovan (b. 1969), both
in materials and aesthetic effect. Donovan’s
Untitled (3.10.18) fills the entire room. From
far away, it takes up the panorama of the space
and the viewer is uncertain whether he or she is
seeing fabric or a giant lamp in the contours of
cloud-like shapes across the ceiling. Upon closer
inspection, the details of the medium become
clear: Styrofoam cups—lots of cups. The artist