May 25, 2022
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The pandemic has made sickness and isolation constants in our society. It’s additionally produced a great quantity of grief. In the US alone, persons are mourning shut to a million lives misplaced to the coronavirus. How will we make sense of our losses whereas we’re residing by them? How will we transfer ahead and look again on the identical time? Our leaders have provided few areas for or moments of reflection, so artists, as they typically do, have stepped in to fill the hole. 4 tasks presently on view in New York take up the work of memorials and monuments: They provide us a place to put our grief, someplace to retailer it so it doesn’t reside solely in our our bodies and minds.

In 2020, for a undertaking known as “Tender,” the artist Jill Magid had 120,000 pennies — the sum of a federal stimulus verify — engraved with the phrases, “The physique was already so fragile.” Magid put the cash into circulation by spending them at, and generally giving them to, bodegas round New York Metropolis. The concept was to make individuals take into consideration the connections between financial and social circumstances: The cash unfold by human interplay, just like the virus, and “the physique” might refer to the bodily ones or to an already susceptible physique politic. Magid documented the method, which came about throughout the lockdown, and created a quick movie that anchors her new set up, “Tender Presence,” produced by the general public artwork group Inventive Time.

The very first thing you see whenever you enter the once grand Dime Financial savings Financial institution of Williamsburgh are rows of bouquets in inexperienced buckets, as in the event that they had been nonetheless on the market on the bodegas the place they had been bought. The show is a poignant riff on the customized of utilizing flowers to mourn the useless, additional charged by the information that the flowers are already within the means of dying. Behind them is a giant display screen; relying on whenever you attend, chances are you’ll sit and watch Magid’s 29-minute movie with musicians performing round you.

The dwell rating — composed by T. Griffin, with sound design by Eric Sluyter — is haunting, at occasions discordant and infrequently tense, as if accompanying a thriller. Throughout one part, a musician clacks out a repetitive, pulsing rhythm, punctuated by regular puffs on a flute. The display screen exhibits a tattoo artist at work, adopted by a machine engraving Magid’s pennies — inventive markings on totally different sorts of our bodies. The beat offers means to wavering, droning strings after a shot of an empty gurney inside a makeshift morgue.

“Tender Presence” is thought-provoking and generally gripping, however it suffers from being partly about Magid’s work and partly concerning the pandemic itself. She connects the 2 conceptually with photos of fingers, many utilizing money to pay for bodega purchases, however the premise of following her customized cash distracts from the commentary about how the U.S. values the financial system versus human life. The anonymity and invisibility of the pennies’ circulation are what make it fascinating.

Magid calls “Tender” a “dispersed monument”; arguably, so is Rafael Lozano-Hemmer’s Covid-19 undertaking, though his most well-liked time period is “anti-monument.” Known as “A Crack within the Hourglass,” it additionally started in 2020, when Lozano-Hemmer and his assistants constructed a particular sand plotter with a robotic arm and an A.I. picture processor. As members submit pictures of people that died from the coronavirus by way of a dedicated website, the machine attracts them in sand, which streams down from a partial hourglass chamber. When the portrait is completed, the plotter disperses it and recycles the sand. Watching that second of dissolution is especially transferring.

The Brooklyn Museum is now internet hosting the primary bodily presentation of a “A Crack within the Hourglass.” Filling a single gallery, the exhibition consists of the machine, archival time-lapse movies of the portraits being made, benches and gray-scale printouts of the finished drawings. Regardless of the sophistication of the plotter, the set up feels purposefully easy, designed to welcome anybody. And its physicality offers the undertaking new life after such an intensely digital two years; seeing items of paper tiled on the wall made the losses they signify really feel someway extra actual. As a Covid mourner advised Ed Yong for a recent piece in The Atlantic: “Placing my grief into a bodily factor would take off a number of the emotional heaviness.”

That was a part of the impetus for the Zip Code Memory Project, which examines the impression of the pandemic on hard-hit neighborhoods in Harlem, Washington Heights and the South Bronx. Sponsored by the Middle for the Examine of Social Distinction at Columbia College, the sprawling undertaking includes workshops, public occasions and an exhibition on the Cathedral of St. John the Divine. Titled “Imagine Repair” and curated by Isin Onol, the present options creations by workshop members and artists, most of whom dwell or work within the affected ZIP codes.

The items primarily doc on-the-ground experiences of Covid-19. A number of the strongest contributions are pictures, enhanced by their integration with the structure of the house. For instance, Kamal Badhey’s “Let Your Coronary heart Not Be Troubled” (202022), a poetic assemblage of phrases and pictures about transferring in together with her mother and father throughout the pandemic, is laid out on decommissioned pews and kneelers. Susan Meiselas’s diptych of the doorways to her native butcher store — whose proprietor died from the coronavirus — hangs in opposition to imposing chapel doorways.

Not all of the work is of the identical caliber, however the present excels at eliciting particularity and intimacy, as with the “Depository of Nameless Emotions” (2022), a hotline that New Yorkers can name to share tales and emotions concerning the pandemic, created by Chelsea Knight with Candace Leslie, Sandra Lengthy and Zahied Tony Mohammed. Like “A Crack within the Hourglass,” which is represented within the exhibition by movies, “Think about Restore” breaks down overwhelming statistics into particular person narratives, whereas insisting that the individuals who dwell uptown, a lot of them individuals of shade, have been disproportionately affected by the pandemic and should be heard and honored.

For me, the present’s counterpart will be discovered downtown, within the Whitney Biennial. Coco Fusco’s 12-minute video “Your Eyes Will Be an Empty Phrase” (2021) captures the artist rowing a boat round Hart Island, New York Metropolis’s public cemetery for the unclaimed useless. The place many Covid tasks have tried to puncture the anonymity of numbers with participation and specificity, Fusco gave herself a more durable job: memorializing these whose tales we don’t know. Individuals just like the artist Melinda Hunt have been exploring this with reference to Hart Island for many years, however Fusco renews the subject with dazzling drone imagery and a meditative textual content, voiced by the poet Pamela Sneed. “The lack of life turns into a manageable sum,” she says. “We could deal with it as a debt that might be forgiven someday. Forgiven and forgotten, we are going to stroll away.”

All of those artists, and lots of others, are attempting their hardest to be certain we don’t.

Jill Magid: Tender Presence

Via Might 8. Dime Financial savings Financial institution of Williamsburgh, 209 Havemeyer Avenue, Brooklyn;

The Zip Code Reminiscence Venture: Think about Restore

Via Might 15. Cathedral of St. John the Divine, 1047 Amsterdam Avenue, Manhattan;

Rafael Lozano-Hemmer: A Crack within the Hourglass

Via June 26. Brooklyn Museum, 200 Japanese Parkway, Brooklyn; (718) 638-5000;

The Whitney Biennial 2022: Quiet as It’s Stored

Via September 5. Whitney Museum, 99 Gansevoort Avenue, Manhattan; (212) 570-3600;

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