‘Is there racism in heaven?’, asks American artist Nick Cave whose exhibition ‘UNTIL’ explores race relations, gender politics and gun violence in America and how these issues resonate in communities around the world.
Cave’s 12-metre long, six-metre wide Crystal Cloudscape installation is a commanding presence suspended from the rafters of Carriageworks in Sydney. The enormous chandelier-like sculpture weighing five tonne is made of thousands of crystals, beads and found materials. Visitors are invited to climb one of four ladders to view the myriad of objects encompassing the top surface of the work. Amidst the porcelain birds, money-boxes, ceramic salt and pepper shakers, candelabras, gramophone speakers, soft toys, glass fruit, gold-gilded pigs, life-sized crocodile, holy water receptacles, Christmas decorations, dandelions, flowers and Beams Trophy Whiskey Decanters are 17 cast-iron ‘Jocko’-style lawn jockeys whose historic roots date to the Jim Crow era of legislated segregation that operated in parts of the United States from 1877-1965. Replacing the lanterns that the lawn jockeys once held, Cave’s ‘Jockos’ hold dreamcatchers that have been fashioned from vintage tennis rackets and beads.
Nick Cave with his work ‘Wallwork’ for ‘UNTIL’ at Carriageworks, Sydney
Also on view is Hy-Dyve, a 14-channel video, Flow/Blow, a fan-propelled wall of shimmering mylar filament, and the Beaded Cliff Wall constructed with millions of plastic hair pony beads that took 18 months to make, while Kinetic Spinner Forest hangs from the ceiling in a thicket of 16,000 wind spinners.
Speaking to the artist’s belief that art invigorates communities, ‘NICK CAVE: UNTIL’ will also be used as a site for artistic engagement with ten artists and collectives scheduled to convene with Cave in a one-day CALL & RESPONSE workshop. The three-month presentation of ‘UNTIL’, from 23 November to 3 March 2019, will also include free events across music and performance, panel discussions and community forums.
