Steve Mcqueen Unites Nina Simone, David Bowie In Guggenheim Bilbao Sound Art
The installation, which opened on October 9, features Simone's 1966 rendition of “Wild Is the Wind” alongside Bowie's version from 1976. The dates of these recordings directly inform the artwork's title. All instrumentation has been removed from both tracks, creating the impression that the two legends are performing together without accompaniment. The monumental work is housed in one of the Guggenheim's largest galleries, a space previously used for extensive retrospectives of artists like Ruth Asawa and Yayoi Kusama.
Upon entering the darkened gallery, visitors experience disorientation as Simone's and Bowie's voices emanate from opposite ends of the room, overlapping loudly and with immediate impact. While benches are arranged centrally, some visitors find themselves drawn to the edges of the space. McQueen views the original 1950s love song as transformed into a lament through these powerful performances.
“The way it was delivered was horrifying,” McQueen stated at a press conference for the exhibition, recalling his initial encounter with the song. He noted that the tenderness of the lyrics has increasing relevance in the face of current political and social challenges.“I don't want to sound soft or hippie,” he said, but“sometimes you feel that love is the only thing to hold onto in a storm.”
McQueen first heard Bowie's rendition of “Wild Is the Wind” in the 1990s, later learning that Bowie had recorded it as an homage to Simone after they became close friends in the 1970s. McQueen connects Bowie's adoption of Simone's soulful singing style to the pain of the Civil Rights Movement. He mused,“How could you escape an environment you had no control over? You could propel a certain sense of freedom within a voice.”
The artist described the combined effect of the voices, saying,“these two wailing voices ascend.” He added, if each voice is a stone,“they come together to make fire. I was very excited to investigate that.” When asked about his personal feelings toward the work after decades of attachment to both songs, McQueen paused before admitting he felt“scared.” He concluded,“The work addresses you, and it asks a lot.”
“66-76-26” is scheduled to remain on view at Guggenheim Bilbao through February 21, 2027.
Source: Artnet News
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