When: Oct. 11-Jan. 12 2014
Nashville’s art lovers shouldn’t let this season’s unprecedented roster of impressive contemporary art surveys — Abstractometry and 30 Americans at the Frist and More Love at Cheekwood, to name a few — overshadow what might have been, during a quieter art season, the highlight of the year. Deviating Utopias, Ana Maria Tavares’ installation in the Frist’s back gallery, is one of the most moving, crowd-pleasing pieces I’ve encountered in that space: Reflective tiles on the floor make you feel like you’re walking across an immense chasm, Temple of Doom-style, only to be met with a kaleidoscope of steel structures as they crumble down on screens that fill all four gallery walls. A score written by Nashville composer Brian Siskind accompanies Tavares’ immersive video. “Niterói, water that hides,” is a sonic collage that brings together midcentury and postwar orchestral vinyl, but recontextualizes it into a dark, deep sound environment.