Nathalie Djurberg's Parade

by on Aug.01, 2012

Thomas Micchelli has an interesting essay about Nathalie Djurberg’s exhibit “The Parade,” now up at the New Museum in NYC:

Surrealism, like “dreamlike,” has become a meaningless catchall for anything transgressive or eerie. True surrealism, however, is shocking in its familiarity — the obsessions and cruelties played out in Djurberg’s films are the cravings we necessarily but too often unsuccessfully repress in order to carry on with our alleged civilization. The only difference between us and the images of Djurberg’s “Parade” is that they are closer to the mud than we prefer to believe we are. Their transgression is in their distillation of the everyday.

I wrote the post “Necropastoral Parades” about the show after I saw it in Mpls a while back:

As in Joyelle’s necropastoral, it seems the plague is a subtext: art running like Artaud’s subterrenean plague. In the most upsetting piece, the one in which the “sons” torture their purple mother, the sons are wearing plague masks, but it doesn’t protect them against art – and it certainly doesn’t protect their mother… This art plague animates the entire collection into a spasmy, jerky “parade” that ultimately leads to the grotesque, materially occult moment of the last video, where the white man seems both corpse and patient, ravished or saved by the bird of paradise.

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