The Living World Feels Dead at the Hammer
“Several Eternities”’ feels overly careful and unable to combust as fully as it could have.
Upon entering the gallery of the Hammer Museum, an initial sense of unease arose in the foyer, where a low rumble echoed before stepping into the exhibition space. Eight boulders sat nestled among heaps of earth, their presence palpable amidst the collected soil. The rattling of overhead track lights caught my attention, momentarily reminiscent of a distant earthquake.
The wall text offered reassurance, explaining that Raven Chacon's sound piece "Study for Vertical Earth" (2026) had brought underground audio recordings to life within the gallery. This immersive beginning set the tone for the exhibition "Several Eternities in a Day: Form in the Age of Living Materials," which sought to immerse visitors in a specific place unlike the scattered, predominantly visual artworks presented in the museum.
The surrounding signage emphasized the often-invisible spirits that inhabit our world, alongside the vibrations generated by Chacon's audio interventions. This connection to animated spirits through living forms formed one of the core principles guiding the exhibition.
Written by urgent.news from Hyperallergic's reporting — not their text. Machine-written — may contain errors; check the original before relying on it.
