At forty-one, I’ve learned to write sentences. But what of those musicians whose brilliance shines before thirty? Those painters on whom greatness rests like a marble monument? Those poets who chart human consciousness, leaving lights on the path for our senseless feet?
I labor a line to death. I spool out and cast about, dabbling with different-colored baits; I let it rest, and then reel it in fast, mimicking the motions of life. But the monster is elusive–the opus, aging. She hides in the dark, beneath the log at the bottom of a book.
“…because truly being here is so much…” (Rilke, Duino Elegies, “Ninth Elegy”)
Today I took in the full sixty-four minutes of Ragnar Kjartansson’s video art installation, The Visitors, at Nashville’s Frist Center for the Visual Arts. It is immersive and seductive, the former term being the best I know to describe it, the latter being a word used in the show’s promotional literature with which I cannot disagree. It was both of these things and more. There are nine screens arranged in a large gallery space in such a way that gives the viewer real-time access to several rooms inside an aging mansion in New York state. Each room is occupied by a musician, with Ragnar himself situated in a bubble bath with an acoustic guitar. All of the musicians can hear one another via headphones, and all proceed to play what amounts to one really long song–several movements that continually return to a single, haunting refrain.
I was mesmerized from the start, even having a couple of moments that I can only describe as joyful. In fact, with Rainer Maria Rilke’s poetic cycle, the Duino Elegies, fresh in my head, these moments of joy struck me as pure moments, as pure a moment as we can find in this life. These moments represent the best thing that can happen at an art exhibit, or in any experience, for that matter. For those who have not read Rilke, the poet presents art (specifically poetry, but I expand his thought to include art in general) as a relief from our nagging self-consciousness. You will have to read Rilke to take in the brunt of his thought–there is so much more than what I’m giving you here. To oversimplify, I will say that he specializes in the plight of the human consciousness.
My notion of a pure moment, informed by Rilke’s Duino Elegies, involves both the cessation of time and the suspension of self-consciousness. It is full immersion in an event. For me today, that event was Kjartansson’s The Visitors. It fulfills Rilke’s idea of “hiersein,” German for “being here.” In these moments of intense being, we forget about time, and we forget about ourselves. We are free to be inside a moment, free to experience pure joy.
The Visitors is on-view at The Frist until February 12th.
I turned off my radio because I noticed the tips of the trees were already bare in many places. All across their tops the sunlight was catching them in a way that softened them like the bristles of a baby’s hairbrush, except wavier and stretched wide as the land–an earthwide undulation of soft, orange-pink bristles. And I turned the radio off because I wanted to listen to the trees, which is another way of saying I wanted to listen to nothing, because nature doesn’t talk to us: a leaf falls, and we call it an omen. We pick it up; turn it in our hands; roll our mind over its veins and across its papery flesh behind a dry fingertip, searching and searching for meaning, and when the meaning doesn’t come we create it: this is the sacred work of the artist. And aren’t those bristles lovely.