Word: crawl
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...Louise Wilson, to those who dumbfound. Not just to those who make old ladies faint and the complacent squirm, but to those who remind us that making sense of art is not always enough, that sometimes you just have to love it first. Two of the Wilsons' video installations, "Crawl Space" and "Stasi City," are showing at the MIT's List Visual Arts Center through April 9, in a rare U.S. appearance and a lucky one for Boston. To find more of the Wilsons' work now showing in this country you have to travel to the Carnegie International in Pittsburgh...
...Chances are good you'll stumble into the pieces somewhere in the midst of their looped tracks, like walking into a movie theater half-way through and staying on to watch the first half of the next showing. Catching up is just a matter of patience. Just the same, "Crawl Space" thrives on its own ability to elude, to string together transitional shots that only pretend to be taking us somewhere, so that the dreadful lurks just out of reach as perpetual and elegant anticlimax. Slow pans, meanderings and disconcertingly long pauses over bits of debris all leave us someplace...
...concept of "ruins for the present" is not new--Robert Smithson made a career of dropping truckloads of dirt onto houses and the like. But for all the time we spend walking around in built spaces, we rarely get to see them once they've been abandoned. Emotionally, "Crawl Space" combines the curiosity and trepidation of some kid as he pokes around a dilapidated house with a deep sense that we've already been in this house forever and ever. And although the video is not, strictly speaking, very scary, it's bristling to see familiar space in its scattered...
...Stasi City" and "Crawl Space," two video installations by Jane and Louise Wilson, will be at the MIT List Center for Visual Arts through April 9. Hours are daily 12 to 6 p.m., Fri., 12 to 8 p.m. Closed Mon. The List is inside the Wiesner Building, 20 Ames St., near the Kendall Square T stop. Admission is free...
...play, the Chalk Circle is drawn, and the child (a doll) must crawl toward the mother of its choice. But instead of two mothers, we here have three: the rich Pamela, the loving Dulle Griet, and Christa (Laura Knight), the returned biological mother. The play ends on a note of grim irony that seems at odds with the other happy-ending aspects of the conclusion. While the irony has been present throughout, it isn't evident enough at the very end to leave the viewer feeling particularly moved. Nonetheless, the play successfully manages to be both entertaining and intellectual, always...