As the film unfolds, with a lingering attention to aesthetics that will be familiar to viewers of Barney’s famous Cremaster Cycle, the substance shifts, disintegrates, and ruptures the changes in its physical form sublimate the movements of the Guests-Barney and Björk-who arrive on the ship to be groomed and dressed by geishas. Central to the project is a vast, liquid “sculpture” of a Vaseline-like substance called the Field, suggestive of whale fat. But let’s give it a try: Filmed on location in Nagasaki Bay onboard the Japanese whaling ship Nisshin Maru, Drawing Restraint 9 combines sculpture, music, architecture, and performance to explore the relationship between resistance and creativity. It’s a project that, like many of the works of these two protean experimental artists, is so avant-garde as to risk ridiculousness when summarized. The artist perpetually described as “elfin” has taken a quick break from recording-and from looking after her 3-year-old daughter, Isadora-to have some coffee and talk about her first collaboration with her romantic partner of five years, acclaimed artist Matthew Barney: a film for which Björk wrote the soundtrack. I scurry over to the restaurant Apótek, but when I arrive, it’s closed-although I can see Björk inside, sitting at her chosen table. From the Hallgrímskirkja church, narrow streets snake down in all directions, the occasional LEGO-bright rooftop breaking up the muted tones of Reykjavík. It’s an ashen, cold day in Iceland’s ashen, cold capital. So what’s their film about? Sculpture, geishas, and whales. The Icelandic songstress joins forces with her boyfriend, Matthew Barney.
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