Contemporary Art at ICA

Yesterday, at the request of a reputed sculptor from Chengdu, China visiting with us, we went to ICA (The Institute for Contemporary Art/Boston). My husband had heard that the building was an amazing piece of architecture, so we were all eager to go.

When we arrived, I was, at first, a bit disappointed, because from the front the building is unremarkable. However on the fourth floor, where the galleries are located, I was utterly attracted by several works.

One was "1^st Light, 2005," a projected digital animation by Paul Chan. The moving silhouettes that are projected onto the floor – flying bicycles and other materials, in contrast with falling human figures appearing at intervals – gives an odd yet long-lasting impression. According to the description I read afterward, this work is a post-9/11 parable of politics and religion. The rising material and falling body reversal characterizes our era.

Another piece, a blanket made of pins painted black gives a deceptive soft and downy feeling. I had an impulse to touch it as you would at any soft and warm object. This irony between the thorny actuality and soft appearance fascinated me. I thought about borrowing this approach in my writing. I was so totally absorbed that I forgot to look at the title, artist name, or description of the piece.

The material and appearance contrast (apparently many artists are going in this direction) is also evident in a work by Cornelia Parker. I was surprised to find out that the hanging objects were charcoal. It turns out the piece is titled "Hanging Fire."

Louise Bourgeois' room-size spider is dominating and instantly recalls Kafka (my husband said Men in Black). I would like to know if it was influenced by "The Metamorphosis."

And we found out what was unique about the building's architecture: the back part of the 4^th floor hangs in the air, sticking out over the bay waves. Looking out from the window the sight is peculiar.