Sponsored link
Tuesday, April 16, 2024

Sponsored link

Arts + CultureArtReview: Face to face with Leonard Cohen's choir in...

Review: Face to face with Leonard Cohen’s choir in ‘I’m Your Man’

Candice Breitz's video "portrait" at the CJM creates a spatial experience of touching vulnerability and awkwardness.

As part of the exhibition “Experience Leonard Cohen” (through February 13, 2022 at the Contemporary Jewish Museum, read our full review here), Senior Curator Heidi Rabben presents Candice Breitz’s “I’m Your Man (A Portrait of Leonard Cohen)” from 2017. As the breathtaking video installation ruminates on Cohen’s music, the work more importantly showcases individuals within a collective and explores the vulnerability and grace of silence and incompleteness.

As Breitz has previously isolated, omitted, and re-staged dialogue from Hollywood films, or the dialogue-like relationship within popular music compositions, the artist dissects the vocals from Cohen’s 1988 album I’m Your Man. Spread between two galleries, Breitz presents session recordings of professional and amateur singers with in-ear monitors, such the singers hear the music while viewers do not.

In the first gallery, Breitz features a large single-channel projection of the Shaar Hashomayim Synagogue Choir—the congregation that Cohen belonged to throughout his life and who performed the back-up vocals for the musician’s last album. As the video documents the nine all-male choir members lusciously singing the background vocals, Breitz has also mic’d the room to record ambient noise, like the sound of musicians turning the pages of the score and the conductor counting the music, things usually omitted in recording sessions. 

Devoid of the instrumentals and lead vocals, the choral’s intermittent singing becomes the video’s focus, an inversion the usual foreground-background relationship in most music. Like hearing only one side of a conversation, the relative silence makes viewers acutely aware of the work’s incompleteness.

In the second gallery, Breitz presents 18 sexagenarian and septuagenarian men approximating the musician’s iconic gravely voice and phrasing. With singers dressed in a range of clothing, including tee-shirts and jeans, suits, and a dress, Breitz presents Cohen’s wide appeal and an expansive notion of “masculinity.” The red velvet curtain hanging behind the singers creates a sparse theatrical setting, a reminder that they are performing for the camera, some hamming it up and others more reserved.

Candice Breitz, ‘I’m Your Man (Portrait of Leonard Cohen),’ 2017, installation view. Photo by Guy L. Heureux

Presented on vertically mounted monitors, videos line the gallery in an ellipse. As video portraits that are about life-sized and positioned at about eye-height, Breitz establishes a one-to-one encounter between viewers and the singers. With sound bars mounted beneath each monitor, when standing close viewers can intimately hear the individuals singing. In contrast, when seated in the center of the room, the work transforms into a complete surround-sound experience, highlighting the work as a collective, a grouping of an “every man.”

Some of the most poignant moments occur within the relatively silent moments of the videos that subtly display an unexpected sense of vulnerability, the awkwardness of relative silence, heightened by the fact that this is a musical recording. Waiting for their musical cue, the singers shift their weight and tap their hands to the music’s tempo to maintain the energy for their delivery. As they keep the beat to music through their bodies, the silence has a visual tempo. 

Masterfully, Breitz creates a spatial experience, wherein moving deeper into the galleries, the videos and sound gradually unfold and inform each other. Moreover, the work operates as a generational metaphor, where the back-up coral of younger men support the elders as they sing the lead vocals. As the lyrics explore a nobility in love, loss, and resistance, Cohen also becomes a surrogate for individuals to express and perform the depths of emotion. 

“EXPERIENCE LEONARD COHEN” runs through February 13 at the Contemporary Jewish Museum. More info here.

48 Hills welcomes comments in the form of letters to the editor, which you can submit here. We also invite you to join the conversation on our FacebookTwitter, and Instagram

Genevieve Quick
Genevieve Quick
Genevieve Quick is an interdisciplinary artist and arts writer. Her writing has appeared in Artforum, cmagazine, and Art Practical.

Sponsored link

Featured

Federal official tells SF to fix ongoing problems at ‘uninhabitable’ Plaza East public housing

But despite successful organizing campaign, repairs haven't started.

Watch: Legendary DJ Paulette gives us juicy nightlife history on Music Book Club

'Welcome to the Club' details more than 30 years of UK house music history and her own fascinating story.

Hilarious performances whisk you up a shaky ’39 Steps’

San Francisco Playhouse lampoons a ripe Hitchcock—but you may want to binge your noir beforehand.

More by this author

‘Look Me in the Eyes’ confronts the phantasmagoria of Kurdish history

At ICA SF, Hayv Kahraman employs haunting metaphors, conveying a surreal mythology of female figures.

‘Ambient Jukebox’ transforms vintage finds into poetic worlds

Janet Cardiff and George Bures Miller's exhilarating show at Fraenkel Gallery teems with bygone sensations

Googly-eyed creatures and underground spirits in Anne McGuire’s ‘Symbolically Depicted’

At Pastine Projects, obsessively detailed psychedelic drawings depicting surreal creatures and local artist friends
Sponsored link

You might also likeRELATED