Two artworks that were located beyond the galleries during the Walker Art Center
exhibition The Quick and the Dead have been acquired for the museums collectionPierre Huyghes enchanting Wind Chime (after Dream) (1997/2009) and Susan Philipsz ethereal Well All Go Together (2009). In addition, Mark Manders Life-size Scene with Revealed Figure (2009), commissioned for the exhibition, has entered the collection.
Pierre Huyghes Wind Chime (after Dream)
Huyghes Wind Chime (after Dream), installed amidst a grove of trees in the Minneapolis Sculpture Garden during the run of The Quick and the Dead (April 25September 27, 2009), incorporates a set of 47 wind chimes containing every note in the score of John Cages Dream (1948), which employed the rhythmic structure of a dance choreographed by Merce Cunningham. Relying on the unpredictable nature of the winda random, natural force that Cage himself would have celebrated as a compositional tooleach ring of the chimes decomposes and recomposes the temporal and narrative aspects of the original melody in an endless performance.
Wind Chime (after Dream) represents an important addition to the Walkers collection of works by Huyghe. Together with video installations I Jedi from Point of View: An Anthology of the Moving Image (2003/2004), Two Minutes out of Time (2000), and A Journey That Wasnt (2005), this first site-specific sound installation to enter the collection furthers the Walkers commitment to represent the artist in depth. In the interest of preserving the piece and protecting it from the elements, the wind chimes will be on view seasonally from approximately May through September.
Susan Philipsz Well All Go Together
Playing during The Quick and the Dead as a constant loop in the Walkers underground parking ramp, Philipsz site-specific sound installation Well All Go Together features multiple voice recordings of the traditional American folk song Am I Born to Die. Using sound and song, Philipsz transforms the acoustic ecology of architecture with the introspection of private experience by broadcasting a cappella versions of this Appalachian folk ballad sung in her own unpolished, soft, and wavering voice. The lyrics tell of a character who faces death and has doubts about what might follow. As the artist explains, the underground parking ramp is an in-between space, between coming and going, between inside and outside, between light and darkness. The song describes a state between life and death, but its form, sung in a round with one voice following the other, suggests a self-renewing cycle of life.
Mark Manders Life-size Scene with Revealed Figure
Manders iconographically enigmatic work suggests an alterpiece, obsolete projector, and stationary puppet. Apparently made of biodegradable materials such as dust, human hair, and dirt, the piece resonates as a familiar but unrecognizable symbol, at once evoking ancient Christian and Egyptian forms while remaining resolutely defined by the artists own visual language. This highly imaginative and materially complex work is the first by Manders to enter the Walkers collection.
The Walker makes it a practice to collect key works from the exhibitions we organize, whenever possible, said Elizabeth Carpenter, curator, Visual Arts/Permanent Collection. We couldnt be more thrilled to have had the opportunity to acquire these important works from The Quick and the Dead. The two sound pieces by Pierre Huyghe and Susan Philipsz transformed the spaces in which they were installed, and ultimately raised the consciousness of this type of auratic encounter for our visitors. As for Mark Manders, his material dexterity and theoretically complex approach to object-making position him perfectly within the Walkers sculpture holdings, which include works by Robert Gober, Gedi Sibony, and Manfred Pernice, to name a few.