Burroughs Adding Machine

Social justice, arts and politics, life in New York City

Connections, Public and Private

Here’s the deal: For two and a half months, you show up for work. You don a long, single-color robe in either red or blue–or, more recently, white. You take a seat in the lobby of the most famous modern art museum in the world. A stranger sits in the seat directly facing you.

And you sit.

No words, no movement, just sitting and staring into the eyes of this stranger for as long as she or he wishes. Eight hours or more a day, seven days a week, over the course of several months.

This is the task that legendary performance artist Marina Abramovic has given herself in “The Artist is Present.” She’s set up shop in the lobby of MOMA since March 14 and will continue until the end of May. Not only is she visible and on display under the harsh lights of the white lobby, she is being watched live by netizens around the world via streaming video. It’s a Herculean task of self-control, public scrutiny, and, strangely, a feeling by viewers of a spectacle we are not supposed to be privy.

MOMA has also posted a photostream of both artist and visitors, and the images are fascinating. I’ve included a couple of the photos above: “Day 45, Portrait 14,” and “Day 45, Portrait 13,” respectively. These participants, whose length of visit with Abramovic is chronicled in the caption (throughout the exhibition, visitors have sat with the artist, silently, anywhere from one minute to hours on end).

“Day 45, Portrait 12,” of a dark-haired man focused intently at the artist, seemingly lost to the people both in the lobby and watching him live over the Internet: Why is he crying? How have this man’s 67 minutes, seated across from the artist–silent and impassive as a statue–moved him to tears?

Casey Schwartz blogs about her fascination with the Flickr stream in today’s Daily Beast, and her insights are acute: “Abramovic’s photos tap into the basic fascination we have with other human beings—the desire to stare, compare, assess, decode, and assume.”

We can tell nothing about the identities of these strangers, yet we’re compelled nonetheless to imagine our own narratives.

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Filed under: art, performance art, , , , , ,

Abramovic and James Franco Divide Art from Acting

Vodpod videos no longer available.

MoMA recently opened a major retrospective chronicling the work of performance artist Marina Abramovic, in which the legendary artist tackles the subject of performance itself. Her work and thoughts on the body as a medium–rather than the two-dimensions of canvas and paint–leads to considerations of what we consider art (permanent or ephemeral? material or abstract?). Reminds me of the work of Ana Mendieta; I’m a big fan of the Cuban-born, Iowa-raised, feminist-driven and performance-based artist who rose to prominence in the 70’s.

Abramovic, in these online videos to accompany the MoMA exhibition, discusses the challenges of standing for hours on end as performance, or what it means physiologically to eat gold, as she does in some of her most famous work.

Interesting to those of us who cross borders between high and low art (I’m torn most days between rereading Flaubert and watching American Idol), is this conversation between Abramovic and James Franco. In the beginning of the clip, the artist herself questions why she would want to meet a Hollywood actor. It’s clear that in her view, performance art–lasting, thoughtful, concerned less with capitalism than the unspeakable–has very little to do with the machinations of Hollywood entertainment.

Interesting to listen to the artist and the actor discuss differences such as imitating a character, as actors must do, compared to experiencing real pain–knives and blood, eating an onion, sitting and staring for hours (literally: Abramovic will sit for seven and a half hours each day for three months in performance at MoMA’s library)–as performance artists must do. Calls into question the idea of intent: entertainment as passing pleasure; performance art as something more nuanced, more challenging, less about satiation than restlessness, hunger, and desire. I like this analogy: art makes us hunger; entertainment satiates the shallow mind.

Filed under: art, , , , , ,

Publications

BIOGRAPHY

RECENT PUBLICATIONS
» "Pinays," AGNI, Spring 2016
» "Dandy," Post Road, Spring 2015
» "Wrestlers," Fifth Wednesday, Spring 2014
» "Babies," Joyland, August 2011
» "Nicolette and Maribel," BostonNow, May 2007
» "The Rice Bowl," Memorious, March 2005
» "The Rules of the Game," Screaming Monkeys: Critiques of Asian American Images (Coffee House Press, June 2003)
» "Deaf Mute," Growing Up Filipino (Philippine American Literary House, April 2003)
» "Good Men ," Genre, April 2003
» "The Foley Artist," Drunken Boat, April 2002
» "Squatters," Take Out: Queer Writing from Asian Pacific America (Asian Am. Writers' Workshop, 2001)
» "Deaf Mute," The North American Review, Jan 2001
» "The First Lady of Our Filipino Nation," The Boston Phoenix, 1999
» "Paper Route," Flyway Literary Review, 1996
» "Brainy Smurf and the Council Bluffs Pride Parade," Generation Q (Alyson, 1996)
July 2018
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About Me

https://rsiasoco.wordpress.com/about/

About Me

Ricco Villanueva Siasoco is a Manhattan-based writer and non-profit manager. More

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