Anri Sala’s solo exhibition, Purchase Not by Moonlight, fills two floors of the Contemporary Arts Center (CAC) with sound, light and tactile objects.
One work in particular confuses and simultaneously conflates the others. It’s not at the beginning of the exhibition, nor is it at the end. It isn’t what the viewer expects to find among the pulsing drums and flashing black-and-white films. It’s a small kinetic sculpture — a pair of hands sheathed in purple latex gloves, index fingers pointing toward each other, revolving slowly around an axis.
The exhibition roots itself in light and sound — short films that flash at the viewer, drum beats that drown out voices — not tactile objects. The echo in Sala’s work not only serves to disrupt human engagement but also to add a sense of placement to the viewer. It leads and follows, confuses and makes sense. Such an oxymoron shouldn’t make sense. But it does. Especially in light of Sala’s own description, as told to Platow: “I went for a very loud silence, a loudness that silences.”
On view through August.
Read Laura Leffler's full review here.
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