Alfredo Jaar’s videos highlight the tendency of the news to focus on a tragedy, then move on
of his art, “Between the Heavens and Me”, Alfredo Jaar’s most recent video, was drawn not from his imagination but from the news. In this case it began with a report on theabout Hart Island off the Bronx. The prison detail at the island’s cemetery—where, for decades, indigent New Yorkers were interred in mass graves—was working round the clock to bury the unclaimed bodies of those who had died, alone and unloved, with covid-19.
In an artistic tradition made famous by Andy Warhol and Robert Rauschenberg, his videos force viewers to consider the effects of their incessant exposure to horrific images. They also highlight the tendency of the news to focus on a tragedy, then move on. “News events cover reality in both senses of the word: reporting it even as they conceal it,” remarked Hartwig Fischer when he included Mr Jaar’s work in a show at the Kunstmuseum Basel in 2005.
“People see new meaning in his work every time they confront it,” says Pablo León de la Barra, a curator at the Guggenheim Museum, which owns one of his best-known pieces, a series of electronic billboards called “A Logo for America”. One panel superimposes an image of the two American continents onto the word “”, quietly insisting that there is more than one kind of American. Another enigmatically combines the words “This is not America” with a map of the United States.
In August Clara Kim, senior curator at Tate Modern in London, hopes to reopen “A Year in Art: 1973”, a show that includes “Studies on Happiness”, a video installation by Mr Jaar that portrays emotional reactions to the coup in Chile. “Violence might be invisible to us,” he says. “But it exists out there, and we will see the consequences of it sooner or later.
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