Ono’s radical rebellion: flies, mirrors, and a child’s unwavering belief
In 1971, Yoko Ono unleashed a performance that defied definition, transforming a New York Museum of Modern Art into a chaotic, reflective space – and challenging the very notion of Art itself.
A museum without walls
Forget the expected exhibition. Instead of canvases and sculptures, visitors encountered a swarm of flies invited by Ono, an unsettling invitation to follow them through the city’s arteries. The ‘show’ resided solely in the reactions of the audience, meticulously documented by hidden cameras, transforming bewilderment, frustration, and fleeting moments of delight into the artwork.
The power of a child’s perspective
Amidst the confusion and dismissal – “bonkers,” one critic scoffed – a single, innocent observation cut through the noise: a child, utterly captivated by the spectacle. His simple, unadulterated response – “Then you have a very good museum there. That’s real neato” – became a cornerstone of Ono’s practice, a testament to the power of imaginative engagement.
Beyond the provocateur
Now, ‘Yoko Ono: Music of the Mind’ at The Broad in Los Angeles showcases a retrospective of her early work, spanning conceptual Art, instruction pieces, and performance, revealing a far more complex and enduring legacy than often acknowledged. It’s not simply a collection of artifacts; it’s a dynamic, evolving experience shaped by the audience’s participation.
A universe unseen
While Ono’s vast body of work remains largely unexplored, the exhibition offers a crucial insight into her core philosophy: imagination isn’t a secondary element, it’s the very foundation of artistic creation. As her studio director, Connor Monahan, aptly notes, “The job of the artist is not to destroy, but to change the value of things.”
From tokyo to the world
Born in post-war Japan, Ono’s early years, marked by scarcity and confinement, ignited a profound belief in the transformative power of the mind. Her childhood games of ‘menus in the air’ – conjuring elaborate meals with her brother – foreshadowed her later explorations of instruction, invitation, and participatory art. It was a survival mechanism, a defiant act of creation in the face of hardship.
Interactive echoes
The exhibition features immersive interventions, from writing wishes on olive trees to donning oversized black sacks, mirroring Ono’s consistent practice of challenging conventional museum experiences. A nail-hammering ritual, with each strike reverberating through the gallery, exemplifies this ethos – a simple act transformed into a communal performance.
A legacy redefined
‘Music of the Mind’ arrives at a pivotal moment, as Ono’s radical vision is finally being recognized as foundational to conceptual and performance art. Her unwavering optimism, her willingness to embrace criticism, and her insistence on the primacy of imagination – demonstrated by that child’s joyful response – continue to resonate with a world desperately in need of inventive solutions. Ono's work, she insists, is never truly finished, constantly re-interpreting itself through the lens of its audience. And as the billboards across Los Angeles proclaim: ‘Think Peace, Act Peace, Imagine Peace.’”n