Bad at Sports » Performance Art

Sense as Consenus: An Interview with Justin Cabrillos

Caroline Picard — Wed, 01 Feb 2012 18:01:04 +0000

"Troupe" photo by John W. Sisson, Jr.

Many of these discussions about hybridity seem to center on the borders of identity: those places we feel something might end so that another substance, or self can begin. Language is essential in the communication of those boundaries; it enables a consensual agreement. The very act of naming, for instance, differentiates one body from another. I am curious about how language is embodied and how an artist invested in movement-as communication might explore that position. I thought I could interview performance artist, Justin Cabrillos. He is particularly focused on how the body and language relate: what seemed like an additional progression from my last discussion with Vanessa Place. Drawing on elements of dance, performance art, poetry, and sound art, explores an inefficient use of breath, the valleys of nonsense and physical exertion. Cabrillos was an IN>TIME Incubation Series artist-in-residence at the Chicago Cultural Center, and a 2011 LinkUP Artist at Links Hall. He recently collaborated with Every House Has a Door in a performance for artCENA in Rio De Janeiro. He is the recipient of a Greenhouse grant from the Chicago Dancemaker’s Forum.

Caroline Picard: I’m interested in how you integrate language and the body: there is something about this process that makes a lot of sense to me, in so far as both the body and language are mechanistic. In your performances, you seem to embody the two at once, calling attention to the ways in which the body gives life/animates language. At the same time, I feel like you also illustrate a kind of twitch or glitch in both, as they merge — is there some way that you could talk about this?

Justin Cabrillos: That’s a nice way of putting it. The body does give life to language. I’m particularly interested in the twitch, tremor, trauma, and the body in crisis because it calls attention to those different kinds of bodies, which language can inhabit and can be transformed by. In my most recent piece, Troupe, I often worked with generating flow in movement and in text, which I would then disrupt, physically or vocally, with a twitch. Somehow that moment of twitch or of crisis speaks to one of many processes of giving life to the body and language. When I was making Troupe, I would often develop movement and language separately and then superimpose them on one another. Other times, I would read about P. T. Barnum’s discussion and publicity of the different figures in his circus and I would use that to develop some of the choreography. There were moments where I sang selections of P.T. Barnum’s autobiography, but then my gestures would align with the singing and other times where I would create a gap between the image of me singing and the actual song. I might flail my arms, while I was whispering. Or, the rhythm of my gestures would be staccato, while the singing was legato. In general, this is a kind of strategy I use because I am interested in picking apart a very familiar experience and then offsetting it slightly, so that you can experience elements of the familiar and the unfamiliar simultaneously. I guess the strategy itself is mechanistic in that it is informed by digital processes. It’s kind of like watching a movie in which the soundtrack is slightly off. Though the body and language are related, I also think that they are different in many ways. Each has a different presence on stage and has different strategies for meaning making and unmaking. Dance can do things that language cannot do and vice versa. But, I’m interested in how the different things they can and cannot do bump up against one another to do something else.

"Faces, Varieties, Postures" photo by John W. Sisson, Jr.

CP: Where do you imagine the body ends and begins? Does that conception change depending on whether or not you are performing?

JC: For me the body doesn’t begin and end at the skin container, so to speak. It’s easier for me to think about bodies instead of the body. I got injured a few times this Fall, and I’ve been curious about these different bodies that these different injuries have produced. After the injuries, my body has never been the same, but that showed me even more that my body was never the same in the first place. I am interested in the way spit, feces, food, and lovers are all extensions of our bodies. The anthropologist Nadia Serematakis discusses this way that our bodies can extend beyond what we normally think of as the boundaries of ourselves. In much of the choreography and writing that I do, I often look to pulling from outside sources, music I’m listening to, books I’m reading, movement I observe in a museum—which I then alter in different ways. In Faces, Varieties, Postures, I performed several images from a Civil War Era etiquette book depicting men with their guns. I am not interested in where bodies end, but I am interested in how bodies begin and begin again. This concept doesn’t change much whether I am performing or not. I think there are multiple bodies, the performing body, the social body, the injured body, but I am invested in all of them when I think about a body because the perceived differences between them highlight their differences and commonalities. I don’t really believe that there is a neutral or blank body, whatever that would look like, and so I don’t believe in a body that ends. It just becomes something else.

CP: What is the function of breath in your work?

JC: When I did On a Corner, this was a central concern. In the piece, I recite the alleged origins of the Corner Bakery, which are printed on their cup sleeves. I inhaled instead of exhaling the words, and allowed myself one breath between each line of text. I lost my breath and started going into spasms because of the task’s effect on my body. There I wanted to deal directly with the breath in relation to language. However, the piece became something else, as it was also a way of connecting with the audience. The sound and image of someone breathing can move someone else to breathe in a similar way, as in a Yoga class. The way we move our breath can lead us to move and breathe in different ways. This in turn can lead someone to feel different emotions that are associated with that pattern of breathing. In performance and in generating material, I play with different ways of using and misusing breath. I am drawn to different language and different vocalized sounds, like weeping or laughing in Troupe, that are somehow as basic as a breath. These sounds, among other effects, mirror a response to the audience and that somehow can construct empathy, coercion, and manipulation. At the end of Troupe, I lie on my side and laugh for several minutes with my mouth in a held smile. I have dealt with laughter in other pieces as well, but this time, I was curious about the laugh track in sitcoms. I slightly altered the usual “heh” sound to a laughed “i” sound. The repetition of it produced some laughter from audiences, while I struggled to hold myself up and push myself across the floor. Laughter was just one of many responses, but I welcome those other responses. I often use the voice and movement in ways that can create fields of responses that can conflict. I am fascinated when an audience member has an ambivalent response, and when audience members have very different responses from one another. An audience member might be laughing at something that is suffocating me, while other audience members might be well aware that I’m suffocating. I don’t see breath as having a singular function in my work, but I do think that it often establishes a sort of visceral connection with the audience that may help tap into some of the other issues I’m dealing with in a piece.

"Troupe." photo by John W. Sisson, Jr.

CP: Where does sense come from?

JC: I think sense is neither objective, nor completely subjective. It is akin to consensus, and is similarly grounded in particular disciplines, social groups, and individuals. When making a performance, I think a lot about the contract that a performer establishes with the audience. I try to establish different buoys for an audience, so that we can move further into “nonsense” and perhaps create some consensus out of that. Ultimately, I wonder how something that is called “nonsense” or that is outside of “common” sense or that is socially awkward somehow, speaks both to the consensus of a particular group of people and to the dissensus of others.

Episode 330: Carolee Schneemann

Christopher — Wed, 28 Dec 2011 17:06:15 +0000

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This week: Living legend, innovator, visionary, Carolee Schneemann.

Working across a range of disciplines, including performance, video, installation, photography, text, and painting, the artist Carolee Schneemann has transformed contemporary discourse on the body, sexuality, and gender. During her recent visit to San Francisco, Schneemann participated in the November 30, 2011 panel discussion, “Looking at Men, Then and Now” [LINK: http://www.somarts.org/manasobject-closes/] at the Somarts SOMArts Culture Cultural Center, in San Francisco, in conjunction with the exhibition, Man as Object: Reversing the Gaze, in which she was also a featured artist. On December 2, 2011 Eli Ridgway Gallery hosted an evening in celebration of the recently published Millennium Film Journal #54: “Focus on Carolee Schneemann.” Art Practical’s Liz Glass and Kara Q. Smith had the opportunity to sit down with Schneemann in between the two events to speak with her about her work.

Carolee Schneemann [LINK: http://www.caroleeschneemann.com/index.html] has shown at the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; and the New Museum of Contemporary Art; among many other institutions. Her writing is published widely, including in Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle (ed. Kristine Stiles, Duke University Press, 2010) and Imaging Her Erotics: Essays, Interviews, Projects (MIT Press, 2002). She has taught at New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Schneemann is the recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; two Pollock-Krasner Foundation grants (1997, 1998); a 1993 Guggenheim Fellowship and a NationalEndowment for the Arts Fellowship. The retrospective of her work, Carolee Schneemann: Within and Beyond the Premises, is on view at the Henry Art Gallery, in Seattle, through December 30, 2011. [LINK: http://www.henryart.org/exhibitions]

An abridged transcript of this interview appears in Art Practical’s ”Year in Conversation” issue, which you can see here: http://www.artpractical.com

Episode 320: Christine Hill

Christopher — Tue, 18 Oct 2011 20:23:44 +0000

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This week: Duncan, Brian, and Abigail Satinsky in conversation with Christine Hill at the Open Engagement conference, which took place from May 13 to 15, 2011 at Portland State University.

Open Engagement is an initiative of PSU’s Art and Social Practice MFA program that encourages discussion on various perspectives in social practice.

Hill has exhibited and lectured widely internationally. She has been the subject of numerous publications and she shows regularly. Recent solo exhibitions include Ronald Feldman Fine Arts, New York; Galerie EIGEN+ART, Berlin; the Museum of Contemporary Art Leipzig; the MigrosMuseum in Zurich and the Martin-Gropius-Bau in Berlin. She was included in documenta X in 1997, and has participated in numerous international group exhibitions. Her work has been reviewed extensively, including in Artforum, The New York Times, The Village Voice, Art in America and in considerable international publications. The ³Volksboutique Style Manual² is in the collection of the Museum of Modern Art, New York. The Volksboutique project ³Minutes² was included in the 2007 Venice Biennale under the curation of Robert Storr. A forthcoming review of Volksboutique sculptural work will be shown at the New Museum in Weimar, Germany in April 2012.

The current Organizational Venture, The Volksboutique Small Business, is housed in her studio’s storefront in Berlin’s Prenzlauer Berg neighborhood and is open to the public. For more information and opening hours, you can contact smallbusiness@volksboutique.org

New ‘Centerfield’ on Art:21 Blog | Interview with Matthew Goulish

Claudine Isé — Wed, 27 Jul 2011 00:03:00 +0000

Our latest “Centerfield” column posted today on Art:21 blog…make sure to check it out! Caroline Picard interviews Matthew Goulish, co-founder of the collaborative performance group Every house has a door. A brief excerpt follows; go to Art:21 to read the piece in full!

This June, I saw a performance by Every house has a door, a collaborative group founded by Lin Hixson and Matthew Goulish in 2008 to “create project-specific collaborative performances with invited guests.” Having seen the piece in its intended context I want to ask questions outside its bounds. I appear like a kind of critic—a person asking the artist for something outside the presentation of a complete work. They’re Mending the Great Forest Highway is a dance for three men (Matthew Goulish, Jeff Harms, John Rich), with a DJ (Charissa Tolentino) and a narrator (Hannah Geil-Neufeld). It took place in the second floor gymnasium at Holstein Park in Chicago. Participants enacted a score of movement and sound presenting thematic elements from Hungarian folksongs, the tritone, and Benny Goodman. I wanted to ask about crisis, the framework of the theater, and the vocabulary of gestures—oblique responses to dance. Perhaps by asking them, perhaps through Goulish’s response, you might catch a ghost of the dance, left behind and buzzing in those summer-hot gymnasium walls.

Caroline Picard: How do you conceptualize the context for performance—do you frame it within traditional theater? How does time function within that context?

Matthew Goulish: Yes, theater as the container – less a set of conventions than of structures. Into it we place, let’s say, dance, writing, and music. We keep those elements distinct for clarity. Theater allows their coherent composition in time, the way the parts fit together. What happens first, second, last? What happens where? What echoes, and when? We have a sense of the parts in themselves (dance, music, writing), and another sense of the parts in relation as a cumulative experience (theater).

Can we call any room a theater if it contains theatrical events? What if we set up chairs in the afternoon at one end of a gymnasium that has windows and skylights? A little room noise might help the performance in unexpected ways. If we begin a 60-minute performance on June 18^th at 2:00 PM, where will the sun be in the skylight when we end? (Read more).

The Public is the Teacher: An interview with Justin Cabrillos

Guest Blogger — Thu, 28 Apr 2011 15:33:30 +0000

GUEST POST BY MARISSA PEREL

In this guest post, Marissa Perel talks with artist Justin Cabrillos about his studio practice and his recent performance of Following Dance at the MCA Chicago. Cabrillos will also be performing at: remixed/reimagined 2011 at the MCA Chicago Performance Benefit on Thursday, June 23, 2011, at 6 pm.

Cabrillos performing Following Dance on Bridge Chairs for Sex and Gender by Vito Acconci, photo by Gwyneth Anderson

Marissa Perel: Tell me about your process for the Following Dance performance you did at the MCA as part of the Without You I’m Nothing: Interactions at the MCA.

Justin Cabrillos: I wanted to make a response to Vito Acconci because my work is largely inspired by his endurance pieces in the 1960-70’s. For this performance, I studied his Following Piece, where he followed around strangers in the city for minutes or days until they disappeared from his view. I combined techniques for following museum visitors by imitating their movements while I performed on his sculpture, Bridge Chairs for Sex and Gender.

I considered Acconci’s movements retroactively as a form of dance in Following Dance. It’s a triangulation of his voyeurism, how he moves his body motivated by that voyeurism, and the bodies of the people who lead him through space. I became interested in a public choreography.

MP: How did you take this public performance art piece and make into a dance?

JC: I started observing people in the museum in October before my performance in January. I’d go into the MCA and watch the public in museum mode. I studied how people hold themselves when they go to see art down to how they hold their weight or shift their gaze. It was a kind of movement analysis that informed how I would build the dance. I sought to embody how people interacted with the art. Or more to embody the relationship between the viewer, the objects and the space between them.

Because of the nature of the work in the Without You I’m Nothing Exhibition, viewers are moving more than they normally would, and I saw that as an opportunity for movement analysis. I also paid attention to people who didn’t choose to interact with the work, their stillness became a source of choreography for me.

Once I was performing, the ladders of the Bridge Chair enabled me to have a bird’s-eye-view of what people were doing. I could look through the Andrea Zittel piece, A-Z Cellular Compartment Units and see kids taking off their shoes and crawling around, so I’d take off my shoes and crawl around. The ladder really facilitated the voyeurism for the piece.

MP: Vito would love that!

JC: I know! I developed a system to call attention more to the viewers than to myself. If someone was directly looking at me, I wouldn’t follow that person, but the person could see who I was following. It’s like when you’re in a dance class, watching the teacher’s movements and trying to follow as best you can. In this case, the public is the teacher. The goal is not so much to parody to make fun of the viewer, but to reveal something about the viewers to one another, and to create a consciousness of the relationship between the viewer and the space of the museum.

MP: How is this experience different than your experience of stage-based performance?

JC: I had to think of a different way to structure the performance. Because it wasn’t about everyone being part of my time, but about the time people were spending in the exhibition. It was like a game where I had to be hyper observant of the audience. On stage you’re rarely aware of audience members as individuals. In this piece, I had to anticipate how people would respond to my actions. It required me to simultaneously observe and perform the audience. That was a lot of information for me to contain in my body! I felt like I was possessed, inhabited by the other bodies in the room.

MP: I find that to be a compelling aspect of your work in general, how you embody your research, whether it’s historical data, responses to sites or in this case, how you are embodying a relationship between art and the audience. It seems like you have to empty yourself of your own contents in order to become a vessel for the subjects of your performances. How do you make space for this, literally in your body and conceptually?

JC: When I was on a residency with Every House Has A Door, I had the opportunity to meet Netherlands-based choreographer, Meg Stuart. Once in a critique she said, “The body is not yours.” I think it’s important to let go of your body and see what happens. This can be liberating because you can see what your body is capable of.

By the end of my performances at the MCA, I could pan across the audience and string 6 different movement combinations together from the people I observed because I was totally invested in their vocabulary. My interests are now much more activated around the space of what I’m seeing in relationship to where I am in the moment.

MP: How long were you performing Following Dance?

JC: For two hours a day over the course of 6 days. I also performed for First Friday, artsmart [an event sponsored by the MCA’s Women’s Board], and I will be performing it again for the MCA benefit.

MP: This is definitely enough experience for you to perfect the art of “observational vocabulary,” how do you keep it fresh?

JC: A lot of people talk about the conceptualism behind performance art of the 1970’s, but what I appreciate is the childlike wonder about it. One thing that’s different about this piece from my other work is that it’s light. There’s an almost childlike sense of humor about it.

During the First Friday show, I noticed a man texting on his cell phone, so I started to act like I was texting . Everyone that was watching us noticed what I did and started laughing. Another day, I noticed a woman lying inside the Convertible Clam sculpture [also made by Acconci]. I laid down in the other half of the shell and slowly copied her movements. It took her a long time to figure out what I was doing.

People seem to be of two minds when they figure me out, they either revel in the attention and play with it, or they run away. Kids are endlessly stimulating because they are always moving and they are also willing to play the game.

MP: What is it like for you to leave that way of performing and return to your studio?

JC: Even when I have physically left the space of the MCA, I’m not sure if my experience leaves me -it’s never completely over. As artists, we’re constantly living with the material of our work. I sleep and eat my material, and I try to pay attention to how my daily life is affected by the focus of my work, how my intention is shaped or directed by my interests. I work very hard to make ephemeral art, and I often ask why I am doing this. I don’t have an answer,but I think the intimacy that I get to share with the audience, based on my intimacy with the material is one of the reasons I make ephemeral art. So, it’s about sharing and extending that intimacy with the audience.

For more information on Justin Cabrillos, visit his website here.

Marissa Perel is a performance artist, writer and independent curator currently working in Chicago, IL.

Episode 289: Tania Bruguera

Christopher — Tue, 15 Mar 2011 19:20:01 +0000

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This week: Duncan talks to installation and performance artist Tania Bruguera.

TANIA BRUGUERA

Tania Bruguera (born 1968, Havana, Cuba) is a Cuban installation and performance artist, trained at the Instituto Superior de Arte in Havana and at the School of the Art Institute of Chicago. Bruguera’s work pivots around issues of power and control.

She lives and works between Chicago and Havana. She is the founder and director of Arte de Conducta (behavior art), the first performance studies program in Latin America, which is hosted by Instituto Superior de Arte in Havana. She is also an Assistant Professor at the Department of Visual Arts of The University of Chicago, United States and is an invited professor at the University IUAV in Venice, Italy.

A March 2009 performance by Tania Bruguera, at an arts centre in Havana, has been involved in controversy. During the performance Tania Bruguera put up a microphone and told people in attendance they could say whatever they wanted for one minute. Various of the attendees use the opportunity to ask for “freedom” and “democracy”. One of these was the awarded blogger Yoani Sanchez. The Cuban government denounced this in a statement saying that it considered “this to be an anti-cultural event of shameful opportunism that offends Cuban artists and foreigners who came to offer their work and solidarity.”

Another controversial performance in September 2009 in the National University of Colombia (Bogota branch), included consumption of cocaine provided by the artist to the attendants. According to University officials, the artist asked for permission to carry a weapon and use cocaine but permission was denied.

Interview with Jose Muñoz, author of “Cruising Utopia” and SAIC Visiting Artist Lecturer

Claudine Isé — Mon, 07 Feb 2011 14:57:41 +0000

The School of the Art Institute’s Visiting Artist Program kicks off its Spring 2011 series tonight with Jose Muñoz, chair of NYU’s Performance Studies department and the author of several books, including Cruising Utopia: The Then and There of Queer Futurity. (You can download a .pdf file of that book’s introduction here). The talk will take place at 6pm in the Columbus Auditorium, 280 S. Columbus Drive. In advance of Professor Munoz’ talk, I asked him a few questions about his work and the performance artists who inspired it. I’m very grateful to him for taking time out of his busy schedule to answer them!

*******

Claudine Ise: Tell us a bit about what you plan to discuss during your lecture at the School of the Art Institute.

Jose Muñoz: I plan to present work that bridges Cruising Utopia and my next book project The Sense of Brown. In Cruising Utopia I considered the work and life of figures from the historical queer avant-garde. I will discuss the life and work of Warhol superstar Mario Montez. Montez collaborated with Warhol, Jack Smith, Ronald Tavel and many other key figures from that scene. But Montez dropped out of the art and performance scene in the 1970s. He has recently reemerged and has great stories to tell. I look to him as a “Wise Latina” which was a phrase used by republicans who attacked Sonia Sotomayor when she was nominated to The Supreme Court. I describe Montez as a Wise Latina because she made a sort of “sense” that I think is worth considering today.

CI: The prose style of your 2009 book “Cruising Utopia: The Then and There of Queer Futurity” is at once poetic and deeply rousing. In particular, I’m enamored of this statement from your book’s Introduction:

“We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds. Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing.”

I love the radical openness of that idea. Can you talk a bit about the ways in which you want to re/define the concepts of ‘hope’ and ‘utopia,’ particularly when it comes to queerness and what you describe as a ‘queer aesthetic’?

JM: I was advocating an idea of hope that refuses despair during desperate times. I reject naive hope and instead offer a version of hope that is counter measure to how straight culture defines our lives and the world. I was trying to describe an idea of utopia that is not just escapism. Queer art or queer aesthetics potentially offer us blueprints and designs for other ways of living in the world. In Cruising Utopia I look at performances and visual art that are both historical and contemporary. But what all the work has in common is the way it sketches different ways of being in the world.

CI: Which contemporary performance artists do you think best represent your idea that ‘hope’ can be more than just a critical affect, but can also present us with a viable methodology for mapping utopias?

JM: I am interested in so much work that happens under the rich sign of performance. For years I have been following the work of artists like Vaginal Davis whose performances always insists on another version of reality than the ones we are bombarded by. I could substitute Vag’s name in the previous sentence with that of artists like Nao Bustamente, Carmelita Tropicana, Dynasty Handbag, My Barbarian and so many other artists that I have encountered. I look forward to seeing more work that helps me glimpse something beyond the here and now.

Dynasty Handbag at Transmodern Festival, 2008.

Edward Winkleman Blog on ‘Online Arts Reporting as Performance Art?’

Claudine Isé — Wed, 19 Jan 2011 20:24:28 +0000

Oooh. I just noticed that Edward Winkleman’s Open Thread post today covers the topic/question of the ways in which online arts reporting may cross over into performance art. Mr. Winkleman mentions Bad at Sports’ podcast as one of several “well-established examples of arts-based news/reporting” that he considers to be “a form of performance or art itself.” Very interesting. “What differentiates such efforts from strict journalism,” he points out, “are the concepts behind their approaches, and the fact that they’re being created by artists.”

This subject, as many longtime podcast listeners must know, is one that Duncan in particular loves to muse on. WTF is it all about people?? The crossover between performance, art, and online journalism is a fascinating topic to think about even beyond the parameters of Bad at Sports, however, so if you’d like to weigh in, please go on over to Edward_Winkleman, read the post, and comment away!

Interview with Martha Wilson, co-Founder of Franklin Furnace Archive

Claudine Isé — Mon, 08 Nov 2010 16:11:57 +0000

A few weeks ago I had the great pleasure of interviewing Martha Wilson via email in conjunction with the Visiting Artist Program lecture she is giving at the School of the Art Institute tomorrow night. Wilson is a significant figure in the history of feminist art, but even more important has been her championing of the artist’s book and her historic work as co-founder and director of Franklin Furnace Archive, which launched in 1976 as a performance and exhibition space located in Wilson’s loft. Today, 30+ years later, the core mission of Franklin Furnace seems just as urgent as ever: “to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, their ephemeral nature, or politically unpopular content.” I asked Ms. Wilson some questions about several different areas of her practice, and am extremely grateful to her for taking the time to answer. You’ll be able to ask Martha Wilson questions of your own tomorrow, Tuesday November 9th, at 6pm at SAIC’s Columbus Auditorium, 280 South Columbus Drive. Directions and info here.

Martha Wilson, A Portfolio of Models (The Working Girl), 1974.

Claudine Ise: Much of your early conceptual/performative work dealt with identity and the exploration of what you’ve described as “personality sculpting.” In the piece titled A Portfolio of Models, for example, you enacted “the models society holds out to me: Goddess, Housewife, Working Girl, Professional, Earth-Mother, Lesbian.” Being an artist was one of very few categories that encompassed all of these identities (or none of them) – a way to avoid getting stuck as either one or the other. I’m curious if now, more than thirty-five years after you did that piece, you think that that range of popular models for women has expanded?

Martha Wilson: Certainly the range of popular models for women has expanded! I guess what annoys me is that there remains a double standard for the assertive behavior necessary to get ahead: In men, it is seen as appropriate and desirable, while in women it is seen as aggressive and bitchy.

Martha Wilson. I make up the image of my perfection / I make up the image of my deformity 1974.

CI: You made another piece in 1973 called “Selfportrait,” where the audience was integral to the work. They were asked to write down who they thought you were on pieces of paper and give them to you. Among other things, you were exploring the notion of the self as something malleable, and which also perhaps could only be known as a reflection of other people’s projections. I find the idea of ‘personality sculpting’ to be really suggestive in terms of how people present themselves on the Internet today. I don’t know how personally engaged you are with social media, but it does seem to be the case that nowadays people are constantly in the process of shaping their personas for public consumption – it’s a form of self-portraiture that we all engage in.

MW: After the Culture Wars of the 80s and 90s, I noticed that the concern of artists in the new millennium shifted from sexuality to concern for privacy in the online environment. Now there has been yet another shift, to the polar opposite: Everyone posts private information on blogs, on YouTube, on Facebook, on Twitter. The networked environment started to level the social playing field, and this trend will only continue as the Guggenheim solicits YouTube videos from regular folks and exhibits them in the museum environment. A century later, the desire of the Italian Futurists to make art that appeals to the hoi polloi is being fulfilled by the hoi polloi itself.

CI: The collection of artist’s books that Franklin Furnace has amassed is amazing and historically unique. You were one of the first people to recognize the importance of artists’ books, and the necessity of documenting and historicizing them. I’m curious about what led you to become such a passionate advocate of the book/publication format given your own early work had been so rooted in performance?

MW: The connection between the text and performance for me was through the practice of Conceptual art in the early 1970s. The artists invited to visit the Nova Scotia College of Art and Design–such as Vito Acconci, Carl Andre, Joseph Beuys, Dan Graham, Douglas Huebler, Joseph Kosuth, Peter Kubelka, Sol LeWitt, Dennis Oppenheim, Ian Wilson– blurred the distinctions between thought and action, words and deeds. For example, here are Lawrence Weiner’s thoughts about the existence of a work of art:

1.   The artist may construct the work/
2.   The piece may be fabricated/
3.   The piece need not be built/ Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership

Here is one of the pieces in Weiner’s 1968 book, Statements:

One regular rectangular object placed across an international boundary allowed to rest then turned to and turned upon to intrude the portion of one country into the other.

Because the type of this text is set in the form of a brick, word and image intersect in the idea of the artist. Are these not instructions for a performance? In fact, when I founded Franklin Furnace in 1976, I invited artists to read to the public. (The term “artists’ books” did not exist as yet to describe contemporary, and cheap, publishing by artists.) Every single artist chose to manipulate the performative elements (light, sound, relationship to the audience, props, costume, time) as part and parcel of the work. (The misnomer “performance art” had not as yet taken hold either.) The word in vogue at the time was “piece,” which encompassed the thought, the action, the documentation-drawn or photographed or filmed or published or taped-whatever.

CI: You started Franklin Furnace out of your loft, in part to showcase your growing collection of artists’ books and also as a performance venue. Franklin Furnace grew and evolved after that to become an organization dedicated to presenting all kinds of nontraditional art forms (especially performance art and printed matter). Its impact has been immense, and yet the concept of Franklin Furnace as a “space” has undergone some radical changes over the years. Franklin Furnace is now “dematerialized,” although its work has gone on as before. Can you talk a bit about why it made sense for you to move away from Franklin Furnace as a physical venue and towards an internet-based space?

MW: In the wake of the Culture Wars, the Board and I had a series of discussions about how Franklin Furnace could provide artists with the same freedom of expression they enjoyed in the loft in the 70s. We decided that the Internet- perhaps not forever, but for now–was that free zone where artists could experiment freely, so we “went virtual” during Franklin Furnace’s 20th anniversary season. At first I thought that since we were leaving physical space, we would leave the body behind; but instead we discovered that artists exploited the body of the net in addition to their own bodies.

CI: Chicago has a strong history of alternative art exhibition spaces, including artist-run spaces located in apartments or other domestic environments. Given your own decades of experience with this type of space, what advice do you have for others involved in running their own nonprofit venues? I’m particularly interested in the question of sustainability– not just in financial terms, but emotional and spiritual and creative sustainability as well. Sometimes when you’re running things on a shoestring (or no-string) it can be really hard to find the wherewithall to keep on keeping on!

MW: Knowing what I know now, it amazes me that people continue to found organizations and collectives. Don’t they understand that they will NEVER STOP WORKING? Yet what I have also noticed is that the art space movement readily adapts to current conditions. For example, during the 70s, not-for-profit organizations in Soho and TriBeCa served the New York art community, while in the 80s, small, for-profit galleries on the Lower East Side flourished. Nowadays, there are hybrid forms that mix non-profit and for-profit strategies, with collectives of artists teaching classes or making equipment available to members who pay hourly rates. I guess my advice to prospective art space founders is to understand that there will never be a “formula” that will work year after year; change is the only constant!

CI: What are you working on right now in your art practice? What are you working on now in your role as Founding Director of Franklin Furnace?

MW: In March of 2008, I had my first solo exhibition in New York at Mitchell Algus Gallery, “Martha Wilson: Photo/Text Works, 1971-74.” My friend Robin said, “Now that you have had one show, you can ask your dealer for another one.” I replied, “I showed work I did in the 1970s; I don’t have any new work.” But as soon as these words were out of my mouth, I thought, “I could revisit my Deformation piece as a 60-year-old lady.” So indeed, during the last year I have been creating new photo/text works as well as performing as Barbara Bush, mother of the ex-President; she is feeling “all washed up.” In August, 2010 Franklin Furnace was awarded full funding from the National Endowment for the Humanities and matching support from the Booth Ferris Foundation for a two-year project to digitize our second decade of event records and publish them online in the Franklin Furnace Database. This effort will, we hope, embed the value of ephemeral art practice in art and cultural history.

Martha Wilson as Barbara Bush, 2008 performance at ps122.

Superclogger: LA Traffic Jam Puppet Theater

Christopher — Fri, 11 Jun 2010 11:00:46 +0000

As of June 1st if you are stuck in LA traffic you have one more option added to your short list of ways to pass the 72 hours a year you spend on the road: music, cell phone, yelling at the drivers around you & now existentialist puppet theater. Yes a theater in the back of a pickup that talks about chaos, control & the role of mankind in this short time we have on earth.

Artist Joel Kyack & Peter Fuller perform from the back of their white nondescript pickup truck and via short range radio broadcasts the spoken/soundtrack performance material is available to nearby drivers to have a relaxed intimate theater of the mind at 5mph.

Every performance of Superclogger except for two special showings will be during evening rush hours on different freeways across LA (The list is below) until September 24th. After that it will appear at the Hammer Museum, September 25th, 1-4pm. The Hammer Museum is located at 10899 Wilshire BoulevardLos Angeles, CA 90024.

Performance Dates & Locations

June 11

110 N & 110 S Fwys (Between Downtown and Hollywood)

July 2

10 E Fwy (Between PCH and Downtown)

July 9

5 S Fwy (Between China Town and Bell Gardens)

July 16

134 W Fwy (Between Glendale and Sherman Oaks)

July 30

60 E Fwy (Between East Los Angeles and South San Gabriel)

August 13

10 E Fwy (Between Monterey Park and El Monte)

September 10

10 E Fwy (Between PCH and Downtown)

September 24

210 E Fwy (Between Pasadena and Duarte)

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