These are not the neatly shorn furs of hats and mufflers but complete bodies with missing eyes and jaws ripped open. In a final, almost grotesque display is a pile of animal pelts hung on the walls. Above the long table are suspended bottles of wine, which are fitted with special nozzles that slowly release the liquid held within at a creeping pace, creating deep stains in the wood table and suffusing the air with an alcoholic humidity. The floor is littered with hair one of the paneled walls is seemingly shot up.
Audience members enter a long dining room, a visceral repository for the rot of a relationship gone bad. Wangechi Mutu’s Exhuming Gluttony: A Lover’s Requiem (2006) is similarly immersive. The Caveman’s obsession is the mantra “1 Man = 1 Man,” and his cave is littered with high theory and literature-by the likes of Noam Chomsky and Martin Luther King, Jr.-to prove this, even if the outside world refuses to reflect this truth. Entering through an opening in a gallery wall, viewers walk into a maze of duct-taped spaces that gives way to an area where the Caveman, a character Hirschhorn imagined, resides. “It is striking how awe-inspiring and viscerally impactful large-scale installations usually are.”Īmong the artworks that viewers can inhabit is Thomas Hirschhorn’s Cavemanman (2002). “Large- scale installations are where artists go when they want to make their dreams come true,” said Dimitris Paleocrassas, the exhibition’s curator, who has acted as a consultant to Daskalopoulos’s collection.
The show is a collection of stunning installations by artists like Maria Loizidou and Damien Hirst that are given the sprawling space they deserve. Greek Mega-Collector Gives 100 Artworks as Joint Gift to Guggenheim and MCA Chicagoįuture Perfect: "Born in Flames" at the Bronx Museum of the Arts
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