Oude Kerk is a fittingly resonant venue for Meredith Monk’s first—long overdue—retrospective in Europe. This massive thirteenth-century church houses highlights from a polymathic six-decade career that respond to (and echo in) its cavernous nave, with its vaulted wooden ceilings and looming pulpits, its high choir and chapels. To visitors (such as myself) who have only previously encountered Monk’s work via recordings, “Calling,” curated by Beatrix Ruf of the Hartwig Art Foundation, is a revelation. It brings together hypnotic video installations, sculptures, and archival material, yet the result is cohesive, not cacophonous. Each work has space to breathe. Together, they form a harmonious whole. Several pieces have been revised or reimagined for this show. Amsterdam Archaeology (2023), an iteration of a work first shown in 1998 and the first viewers see upon entering, is one example: a red ziggurat for the display of objects donated by city residents and dipped in beeswax (or “Beuys wax,” as it risks being known in art contexts). These yellowish, translucent cauls point to the union, evident across this exhibition, of industrious and protective instincts. Monk has for decades sought the holistic union of art and healing. Installations housed in freestanding (and judiciously soundproofed) rooms extend …