Björk’s Black Lake installation debuted in spring 2015, bringing a novel and site-specific experience of her music to a midcareer retrospective at the Museum of Modern Art. Consisting of two coordinated film screens and an immersive sculpture/audio installation, the piece developed upon the studio song “Black Lake” by offering a multilayered experience of it to visitors. This essay deconstructs the modalities at play in the installation – aural, visual, spatial, and experiential – and makes sense of their unified expression. Citing underpinnings in music video and installation art theory, this essay works to qualify an experience of this uniquely crossmedial piece.
Installation art, modality, visitor experience, music visualization, spatiality.
Digressions 1.2 (2016), pp. 31-44.
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