![]() ![]() ![]() Like all the works in Desert X, the context of its site and the impact of lengths of time spent in its presence are arguably more central to the work’s meaning than even its visual and material qualities. Installed in a quiet copse on the perimeter of the estate’s public gardens, the sculpture is accompanied by an intermittent audio element we hear what she hears. The one-time movement and sound performance in the past, what remains is a semi-permanent single female form in the artist’s signature luminous blue lies on a bed of white sand, her ear pressed to the ground as if to hear the sounds of the earth itself. Why did you come here? Why do you listen? What does it say to you? In many ways, these are the foundational questions and the essential directive of the entire Desert X affair.Īlbuquerque’s piece is about listening. At one point in the bright, mantric hour-long performance ritual which christened Lita Albuquerque’s current sculptural installation hEARTH at the Sunnylands Center & Gardens in Rancho Mirage, a throaty clarion chant rang out across the great lawn, staccato: Got to, got to, got to, got to listen to the silence. ![]()
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