MoMA curator-at-large Klaus Biesenbach explains the grander philosophies behind Bjork’s work and the impetus for her retrospective at MoMA.
He writes, “In the early 2000s, it would have been almost impossible to create an exhibition that was authentic to [Bjork’s] work in the context of an art museum. However, projects such as 1999’s ‘All is Full of Love’ and 2011’s Biophilia have paved the way for a synthetic presentation of Björk’s work. As the idea of a collaboration progressed, it became clear that Björk likes to work organically, with ideas being discussed, revisited, and researched on a daily basis, in a very exploratory way, incorporating life and work, reading, writing, talking, and listening. When we began seriously to discuss an exhibition proposal, one of the first things she did was send me short descriptions of the defining character traits of the seven characters of the seven albums that she had produced.”
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