Alexander Calder in Focus

Pipilotti Rist</a> (b. 1962, Grabs, Switzerland; lives and works in Zürich), the 2001 video installation Supersubjektiv.</p><p>Rist filmed the video footage featured in Supersubjektiv using a handheld digital camera during a month-long trip to Japan in December 2000. The hallucinatory video, presented in the Turner Gallery as a multichannel installation accompanied by sheepskin seating and an artist-made pillow, offers viewers a dream-like space for contemplation and curiosity. Paired with an ambient electronic soundtrack with lyrics sung in English and Japanese, the artwork examines nature, the built environment, and technology with wide-eyed wonder. Visitors are encouraged to relax and lose track of time as they take in Rist’s audiovisual meditation on longing for connection in our vast, globalized society.</p><p><br></p>" />

artist Dieter Roth</a>’s preferred form, and the one he spent his lifetime pursuing, was the Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.</p><p>The sculpture Balabild 5 (c. 1975–2005), made in collaboration with <a target="_blank" href=https://www.mutualart.com/Exhibition/Alexander-Calder-in-Focus/"/Artist/Bjorn-Roth/4B4248B15DB3720A">Björn Roth</a>, is a complex portrait of their shared creative life, expressed through an array of artifacts that passed through their family art studio in Iceland. Made of materials including wooden flooring from the original studio, canvas, paint and paint tubes, brushes, lightbulbs, photographs, and other found items, Balabild 5 was developed over decades and is intended to look forever unfinished, as if the artists have frozen the energy of their studio and could step in at any moment to keep working. Björn Roth has called their studio “a laboratory, to search for beauty in nothing.”</p><p><br></p>" />

Arthur Jafa</a> has developed a singularly dynamic practice comprising films and videos, photographs, and sculptures. Through his multidisciplinary work, Jafa seeks to encompass what he describes as “the full complexity, specificity, beauty, and potentiality of what Black folks have made and continue to make out of the bleak existential circumstance we’ve attended to over the past several hundred years.” Utilizing found imagery, music, and artistic techniques such as montage and collage, he has constructed an extensive assemblage of Black expression, layered and arranged in ways that reveal the diverse and complex realities of Black being.</p><p>Arthur Jafa: Works from the MCA Collection surveys the artist’s output over roughly the last ten years through a selection of artworks held in the MCA’s collection, including his videos APEX (2013), Love is the Message, The Message is Death (2016), The White Album (2018), and Akingdoncomethas (2018). Accompanying the videos are a few key sculptural and photographic works that further underscore Jafa’s unique approach to visual culture and image making, in which the lines between popular and high culture blur and the personal collides with the political.</p><p><br></p>" />