The Chapel of the Chimes, aside from its historical importance and architectural beauty serves as a site of repose, contemplation, transcendence and remembrance. It is, on many levels, easy to draw comparisons of intent and use between the chapel and museums, as places where history, beauty and the sublime—the intuition that there is something powerfully beautiful and fearsome beyond our quotidian experience—coexist.
It is as impossible to consider the fact of death without memorials to the departed and the practice of rituals as it is impossible to contemplate contemporary art practices without the vitality of performance art. Using the idea of “the ever after” as a starting point, artists explore notions of observance, grief, longing and wonder. Poignancy, playfulness and sharp insights into the nature of the eternal are the common threads used to weave a series of site-specific mini-installations and performances through the chapel. From the minimal to the Baroque, artists use this unique space to reflect upon notions of remembrance, loss and celebration with critical alacrity and wit.
As the idea of death generates the orchestration of rituals around the body of the departed, so does Ever After extend the scope of its installations with a series of moving performances addressing the body, drawing through space the concept of passage from this world to the other as a place that defies intendment.
Artists images from top left: Untitled (reliquary), Elyse Hochstadt; A Gift of Exorcism, Justin Hoover & Bert Bergan; Niche Drawing (Manga Blocks) Yuki Maruyama; The Spoiled Child, Terrance Graven; The Count, Luther Thie; A Rose Without a Thorn, Emmanuelle Namont-Kouznetsov; Movement Through Death, Michelle Morby; Dixie Cup Phone, Andrew Witrak; The Garden Grows Now and Forever, Karrie Hovey; Vessel, Rachel Dawson; Frames, Phil King; Olive Crown, Linda Trunzo; The Time of Life is Short . . ., Kathrine Worel; Untitled, Jessica Pezalla; Untitled (Urn), Marya Krogstad; Untitled, Victoria Heilweil