“It was really interesting to see these different people playing different instruments, of different genders, in different parts of the same building… They’re walking away singing this song that is very much like a unifying anthem from a performance that was all about how segregated they were in different parts of the house.”“Ragnar Kjartansson: The Visitors” will be on display through July 28.

Harvard Law School Makes Online Zero-L Course Free for All U.S. Law Schools Due to CoronavirusFor Kennedy School Fellows, Epstein-Linked Donors Present a Moral DilemmaTenants Grapple with High Rents and Local Turnover at Asana-Owned PropertiesIn April, Theft Surged as Cambridge Residents Stayed at HomeRagnar Kjartansson strums his guitar in the ICA exhibit "The Visitors. Two massive screens stand back to back in the center, while seven others line the walls. Together and apart, the musicians, all friends of the artist, create a musical experience built around the phrase “Once again, I fall into my feminine ways,” which is a line from a poem by artist Ásdís Sif Gunnarsdóttir. The arrangement was composed by Kjartansson and Davíð Þór Jónsson, and Kjartansson described it as “feminine nihilistic gospel song.”The installation is set up to fill the entire room. “It kind of reminded me of people I went to college with that I don’t talk to anymore, intentionally.”The exhibit’s title, “The Visitors” — a reference to ABBA’s final album — is applicable to more than just the performers themselves.

Seen in the gallery, the installation prompts viewers to become physically engaged with the work and move from one screen to another in response to the intimate flow of music and imagery. Although the musicians are connected auditorially by headphones, they play and sing alone, collaborating without bodily cues or eye contact beyond the electronically delivered music. As they come together, the performers chat, smoke, and pour drinks before congregating in a single frame outside the house to set out across a field together, still singing.“It feels like you’re part of this group of people for a while,” Christine L. Costello, an ICA visitor, said.The lyrics that the performers are singing are taken from the poem “Feminine Ways,” written by Kjartansson’s former wife Ásdís Sif Gunnarsdóttir. “While Kjartansson pushes the limits of endurance for himself and his collaborators, he congenially accepts that audiences will come and go as they please, experiencing the work in its entirety or in brief episodes. Ragnar Kjartansson's The Visitors is a nine-channel video projection that runs just over an hour. The isolation of the musicians throughout the large home may be seen as a metaphor for human relationships and the nature of collaboration. Following the acclaimed London premiere of Icelandic artist Ragnar Kjartansson's video installation 'The Visitors' at Brewer Street Car Park, The Vinyl Factory releases the artwork's soundtrack for the first time. As a critic for For the first stretch of the song, the lines “Once again I fall into / My feminine ways” are sung again and again, with a variety of musical structures. “Like such predecessors as Andy Warhol, Kjartansson acknowledges boredom and repetition as intrinsic conditions of contemporary existence,” says Scala. Connect with us @FristArtMuseum, with #RagnarAtTheFrist.Accredited by the American Alliance of Museums, the Frist Art Museum is a 501(c)3 nonprofit art exhibition center dedicated to presenting and originating high-quality exhibitions with related educational programs and community outreach activities. "An interesting thing for me was trying to piece together the different parts of the house in each of the different channels — watching, ‘Ok, people are leaving from this screen; oh, they’re showing up over here,’” Joshua D. Anderson, a visitor at the exhibit, said.Museum patron Lydia M. Vanderburg also spoke to the unique spatial aspects of the exhibit.“As you walked around the room, you’d hear one performer more strongly, but because of the acoustics of the room, you could still hear everyone. But, as happens with Warhol, the reward of extended viewing is a heightened perception of differences in the repetition of a scene, musical phrase, or physical action. The ninth screen is fixed on the porch, where a group of musicians, residents of the house, and friends have gathered. Ragnar Kjartansson’s elegiac video composition The Visitors (2012) is a hymn to the feminine and its melancholic triumph, an incantation of friendship to the melody of romantic despair.

Even the musicians who sit in more traditional recording settings seem absorbed in creating the music as a private and organic act. Instead of approaching art as a solo endeavor, Kjartansson often works with collaborators to orchestrate vignettes that are rich with symbolism and sensuality. The Frist Art Museum offers the finest visual art from local, regional, national, and international sources in a program of changing exhibitions that inspire people through art to look at their world in new ways. “The musicians are led by Kjartansson, who cuts a commanding yet somewhat comical figure as he sits—pale, pudgy, and naked—in a sudsy bathtub,” says Scala. Each screen has its own speaker, so the sound that fills the room varies from place to place. What a beautiful place to seek shelter, gather strength, and enjoy the company of friends. The Institute of Contemporary Art offers free admission with a Harvard ID. Though the performers begin in separate rooms on separate screens, they slowly come together over the course of the 64 minute performance, leaving some rooms empty and congregating in others.Several visitors remarked on the effect of spatially navigating the exhibit. (Elisabet Davids / Luhring Augustine Gallery and i8 Gallery, via the DMA)

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