Artist and filmmaker Steve McQueen, known for his impactful long takes, has shifted his focus in recent works. His latest documentary, Occupied City (2023), spans four and a half hours and explores Amsterdam during the Holocaust. While a narrator discusses the persecution of Jews, McQueen's contemporary footage of the city often appears disconnected from these narratives. His camera glides through modern spaces without revealing much of significance, reflecting a departure from his previous depictions of violence.
In his upcoming installation, Bass (2024), McQueen eschews moving images entirely, filling the expansive basement of Dia:Beacon with sound and light. The installation features 60 boxes that slowly change color, creating a vivid atmosphere. The title emphasizes sound, with music performed by five musicians from the African diaspora, recorded largely in an improvised format under McQueen's direction.
This ensemble, which includes notable artists like Marcus Miller and Meshell Ndegeocello, creates a rich tapestry of sound that often blurs individual contributions. The relationship between the music and the changing lights is subtle, occasionally aligning to evoke emotional responses, such as a sense of horror transitioning from deep blue to intense red.
While the installation shares aesthetic qualities with Minimalist art, it radiates warmth, contrasting with the austere nature of its predecessors. The arrangement of sounds and lights allows for a flexible experience; visitors can navigate the space or settle in to absorb the atmosphere.
McQueen's reflections on themes like the Middle Passage suggest deeper meanings behind Bass, connecting it to historical trauma without direct representation. By avoiding explicit depictions of violence, he aligns with contemporary artists addressing racism and suffering in nuanced ways. Bass becomes a sonic exploration of unseen histories, inviting audiences to engage with the vibrations of memory and experience.
Sayart / Amia Nguyen, amyngwyen13@gmail.com
