The video installation--on view at the Broad Contemporary for a few more days--began with an exclusive preview where the pop star and Academy Award winning director shared their thoughts surrounding the project with LACMA director Michael Govan and a group of 150 journalists and socialites.
As “All Day” comes to an end, West pauses against a wall to close his eyes to catch his breath. The interlude is a pitch-shifted version of Paul McCartney’s original rendition of the “All Day” melody, played in an interview with Michael Parkinson in 1999. If there’s one thing we know West is vehement about, it is giving credit where credit is due.
West sinks to the floor and opens his eyes into the lens, a gesture that almost startles in its nakedness. A recording of a voice begins to play. In an attempt to diagnose or perhaps prescribe, the voice asks: “While you're fast asleep, do you experience nervousness or shakiness inside, weakness or dizziness? Afraid of open spaces, going in public? Thoughts of ending your life? Feelings that most people could not be trusted? Heart, chest pains?”
Enter West’s familiar auto-tune croon: “I feel like that. I feel like that all the time.” He keeps his eyes open and focused on the camera lens—on us, the audience.
The camera pans out and West is alone. The resonant frequency of the room is the first chord in the chorus of his song, and when the sub-bass hits everyone in the room can feel it shaking their bones.