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Tim Burton exhibit shows the grotesque
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THE entrance to “The World of Tim Burton” exhibition is a toothy clown daring audacious visitors to step through its jaws. As visitors enter, they are greeted by a plethora of bizarre contraptions, like a “Little Shop of Horrors.”
One particular drawing of a mopey girl wearing a red stitched heart appears to be a kindred spirit, and I instantly found solace in her disposition. Throughout the exhibition, a similar feeling is projected. Although Burton’s characters are outlandish, there is something beneath that is infinitely relatable.
Burton has long been renowned for his expertise in blending the macabre and the humorous. His tactful meshing of the two has led the American film director and artist to international acclaim, paving the road for the Shanghai exhibition of his most personal works.
The four-story gallery showing at the Lafayette Arts and Design Center displays Burton’s Pop Surrealist designs that captivated visitors at the Museum of Modern Art in New York from 2009 to 2010. The exhibition boasts more than 500 of Burton’s artworks, ranging from off-kilter statues to impromptu napkin sketches. However, every single piece features a distinct component of intimacy.
Burton’s sketches appear to be streams of consciousness and bursts of originality that occurred to him in his day-to-day life. It is easy to imagine Burton sitting in a café, instinctively grabbing a napkin and etching a figment of his imagination.
The first floor is dedicated to the birth of Burton’s ideas. The level even chronicles his earlier projects, such as when an 18-year-old Burton sent a manuscript of a children’s book idea to Disney. Although he was politely rejected, his ambitious endeavor proved fascinating. Fortunately, Burton is currently a frequent collaborator with Disney, eking out hit movies such as “Alice in Wonderland” and “The Nightmare Before Christmas.”
Up a set of uncharacteristically rickety stairs are Burton’s lesser-known Polaroid pictures that are outfitted perfectly against dark walls. The pictures showcase some of his abstract characters in a real life context, which is — in all actuality — quite disturbing. On the opposite wall, Burton provides comic relief in photographs of a miniscule Chihuahua donning a pair of antlers. Near me, the tinkling laughter of other guests fades as they encounter a darker set of images. The most striking Polaroid is a depiction of a model decked in “Corpse Bride” fashion, cradling an infant that appears to be impaled by acupuncture needles. Behind me, I hear a baby scream.
The next few rooms are dedicated to the characterization and development of Burton’s “Misunderstood Outcasts.” Burton’s whimsical characters are given the breath of life in immaculate display cases where small sculptures of his ideas reside. In the corner, there are a few sketches on black paper that look like the flora and fauna of alien planets, making an avid contribution to his hauntingly beautiful style.
The third floor is a haven for Burton-esque selfie lovers, where Burton’s notable sketches are metamorphosed into recreational sculptures equipped with nooks and crannies to crawl into for photo ops. And as a bonus, after visitors finish uploading their experience, they can purchase expensive souvenirs to commemorate further.
The bar area on the fourth floor is littered with Burton memorabilia as well as a wide variety of alcoholic beverages, complimented by peculiar techno music. That an art museum dedicated to the director of numerous children’s films houses a bar is quite eccentric. However, it flatters Burton’s florid, contradictory style. Burton is essentially a walking paradox. His works are gothic yet unbearably light, niche yet universal. It’s no wonder that Burton’s charming dialogues and witty art have trekked the globe from New York City to Shanghai.
Date: Through October 10, 10am-10pm
Address: 323 Fuxing Rd M.
Admission: 130-200 yuan
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