MONA (2)

I had a break before going in to Oliver Beer’s Confessional. You have to because only one person can go in at a time and, of course, everyone wants to go in. It’s worth it – in a way, it’s the archetype of the MONA art work – experimental, using sound and experience to extend the boundaries of normal perception (maybe that’s ‘art wank’). Any way, I can’t illustrate it.

The last thing I went to was Alfredo Jaar’s performance piece based very loosely on The Divine Comedy. The most extreme of the installations, again pushing the boundaries of mood and sensory experience in ways which are deliberately intriguing, disturbing and simultaneously stimulating and unpleasant: a version of art which, like so much of MONA, is as much sixteenth century as twenty first.