Cultured Magazine

Winter 2014

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CULTURED 201 Some declare reinvention. Others quit on occasion. Most simply flail when it comes to the subject of staying relevant. And then there's Björk, the Icelandic artist who has relentlessly rocked the arenas of music, film and art since she broke out in 1988 as the frontwoman of punk group The Sugarcubes. In 1994, she told Rolling Stone, "To me, the future will be about being able to do all things at once. You can be, like, a really good businessman and also be a mother and also be really into health food, and you can do basketball—just pick up the best things." Though prophetic then, surely the elfin queen of dreamy surrealist electro has picked up her most unexpected thing: a museum exhibition. From March 7 through June 7, MoMA will hang, well, really, install various kinds of media—sound systems, projectors, costumes, light displays—to illustrate the interior world of Björk through her extensive outputs. As one would guess, Klaus Biesenbach's wand is at work, helping curate this display after championing the institution to purchase the multi-hyphenate maestro's "Biophilia" app (the museum's first acquisition of its kind), which was created in 2011 alongside her album of the same name—her last studio album to date. (Though 2015 will see her latest, produced by experimental 26-year-old producer Arca, who also fine-tuned similarly stratospheric Kanye on "Yeezus.") Björk will morph into an art object herself in her own retrospective, collaborating on an original performance with Andrew Thomas Huang and 3-D visualizer Autodesk, as well as on a textual installation co-written by Icelandic novelist Sjón Sigurdsson. —JB © 2004 INEZ AND VINOODH Björk CREATIVE ICONOCLAST ▲

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