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By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. Everything is now simultaneous, here, being. These intensities—perhaps nothing more than shivers of the brain—are the grace notes of consciousness, known empirically before they are known conceptually. But even the most direct experience of trance or intoxication is refracted through cultural artifacts, through storybooks or pills or paintings. Despite their intimate character, in other words, we know altered states partly through mediated ones. This is what happens to ecstasy, for us—it moves from God to orgasm. And now that Ecstasy is the name of one of the most popular recreational drugs on the planet, a phenethylamine capable of delivering its own beatific intensities, we can see how far we have come. The wall text that introduces the MoCA show nowhere mentions drugs, although terms such as altered , intoxicating , hallucinatory , and the more classical bacchanalia let us know where we stand. On one hand, this ambivalence is key: The question of how the experience of psychoactive substances such as MDMA or LSD relates to other unusual mind states is a vexed issue, one that echoes crucial contemporary concerns about simulation and the manufacture of subjectivity. But by loosely jumbling drugs with a wide variety of altered states—hypnosis, sleep, madness, perceptual illusion—the show seems muddled from the onset. All fungi are essentially replicants, after all, since a given patch of individual mushrooms will generally share the same DNA. Their sculptural multiplication across the gallery floor generates an uncanny quality common to both organic and technological modes of replication—an almost animistic sense of iteration that also enchants psychedelic perception, which can make the most innocuous floorboards seethe and sprout to multitudinous life. You will not get high from these objects: They are all surface; they only remind. Despite its surface cleverness, 1, Hours is one of the rare pieces in the show with an inside. In other words, in the midst of knowing mediation, Friedman provides a trace of raw experience: a Duchampian gag that actually imbues the object with a state of mind—even if that mind is just sitting in a room, bored out of its skull. The water cycling through the delicate glass structure, made of scavenged Victorian crystal, carries what a framed certificate assures us is a homeopathic trace of LSD In addition, homeopathic remedies work by introducing a trace of the offending disorder. Weber, then, is suggesting that we are already tripping and that we can only be cured by what already ails us. And as you lean toward the fountain, you understand what he means, for the dripping water falls and plays with such plangency across the glass that you could swear a music box is concealed somewhere. But it is only a singing crystal you hear, or your mind tuning to a singing crystal—as fit a metaphor as you need for the visionary potential of crystal solids such as LSD. By switching sensory registers from vision to sound and from sound to music, the fountain stages the sort of perceptual surprise that lies at the heart of psychedelic experience. These conditions are not incidental. In a museum, the set is as varied as each person, but the issue of setting raises some sharp questions about the limitations of the institution when works of ecstasy or transport or visionary experience are on the line—when we are in as well as about altered states. It is one thing to follow a dark and mazy corridor into a white room where rotating fly agaric mushrooms dangle from the ceiling; it is another to enter the space with a gruff guard staring you down. Yes, there is serious inquiry in the piece, but there is also celebration, and the impossibility of celebrating in MoCA made me long for a blank void very different from the white cubicles of the museum. It made me long for Burning Man. It is perhaps unfair to compare a downtown museum of contemporary art with the dry alkaline lake bed in Nevada that annually provides home to a hedonistic freak festival, but the freak festival in question has also established probably the most creatively sustained counterhegemonic site for mass public art production and consumption in the developed world. It is true, of course, that a lot of art at Burning Man is bad and that a lot that is good on the playa would be bad elsewhere. The point is not that Burning Man is better but that the art of altered states depends in part on a lack of temerity before the exuberance of visionary experience. Of greater interest is a gorgeous and crafty piece of animation by Chiho Aoshima. The key element is the long pullback. We are looking in the rearview mirror at a way of seeing that lies behind us—in the long-ago of childhood, but also in the history of visual expression, in that visionary capacity now largely swallowed up by commodified technological fantasy. And yet many contemporary artists produce visionary material without leaning on pop culture. Like Paine and Friedman, Tomaselli draws attention to the actual things—the pills and organic materials—that mediate psychoactive experience. But as he painstakingly arranges these things and others into the thick resin that coats his hybrid collage-paintings, he dematerializes them as well, revealing their potential to become elements of mind and pattern, like the string figures in Harry Smith movies or the inner-eye whirligigs captured in his recent Millennium Phosphene Bloom , The piece seems to literally embody the difficult human transition between meat and mental ecstasy, but its full resonance only becomes clear when compared to the similarly semitransparent bodies in the work of Alex Grey, another Brooklyn artist and one of the most dominant painters in the largely marginalized world of contemporary psychedelic art. But Grey is too much of a mystic literalist for his work to ever make it to the walls of MoCA; transcendence, even if it is just a trick of immanence, is still taboo. Search Icon. Search for: Search Icon. Search for:. Arrow Icon. Current Issue. Follow Us. Email address to subscribe to newsletter. Sign Up. Advertise with Artforum. PMC Logo. Artforum is a part of Penske Media Corporation. All Rights Reserved. Los Angeles. By Erik Davis. Artforum Inbox. January Most Read. Most Popular 1. You may also like. Our Sites. Art in America. ATX TV. Flow Space. Footwear News. Life is Beautiful. Robb Report. Rolling Stone. Sourcing Journal. The Hollywood Reporter.

MOCA displays images of ‘Ecstasy’

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