Bill Viola / Michelangelo: Life Death Rebirth Review – An Uneasy Dialogue
THE GUARDIAN
By Tim Adams
Eer since Bill Viola first pitched up in Florence as a 23-year-old film technician in 1974, there has been a certain inevitability that 45 years on he would end up here, sharing a mostly hushed and dimly lit Royal Academy with Michelangelo. Viola was in Italy back then working in a studio patronised by some of the pioneers of video art – including Nam June Paik and Bruce Nauman – but he was also encountering for the first time the work of Renaissance painters face-to-face in the city’s churches, an experience that he later described as something like “total immersion” for him. Along the way the two experiences – fresco and video, altarpiece and flatscreen – seemed to have fused in his imagination. Viola saw the possibility of recreating those 500-year-old visions of eternal truths for a contemporary audience – not in marble or paint or charcoal, but on screen. [More]
By Tim Adams
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| ‘Divine muscular energy’: Michelangelo’s The Risen Christ, c1532-3. Right: Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005 by Bill Viola. Photograph: Royal Collection Trust © Her Majesty Queen Elizabeth II 2019; Bill Viola Studio |
