Comments on: bknfrthfrevr

By: Netpowersoft

Netpowersoft — Fri, 25 Nov 2005 08:33:24 +0000

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By: mo

mo — Sat, 19 Nov 2005 12:38:27 +0000

noiiice blog, gol,
remind me to give you this article by andrea frasier about “the institution”. it made this whole thing easier for me to understand, ewpcially since at first i was pretty annoyed. the guggenheim is so weird – they do have a really diverse showing of art–that this series coincides with the RUSSIA show is pretty great–but it is pretty gimmicky. the talk was terrible. full of curator speak, which is insufferable and meaningless at the same time. lots of Tension and Intent and Context, and not a lot about the basic ideas contained within each performance, and their relation to each other, and their relation to, i dont know, say, the world? time? their past occurances? ack. but marina was luminous, and every once in a while would say something revealing or cute. like how she would forbid her students to use candles or eggs. the curator kind of looks like that edith head character from the incredibles, and obviously had very little to do with this program. some of the poor commenters in the audience were so star struck and clearly burgeoning “performance ARTists” themselves, that the q&a started to visibly try marina’s patience. either that or she was late (hahahah, as if) for a dinner date.
the thing with the guggenheim interference is that the more time i spent there, especially for the thomas lips performance, the more i started to understand her obsession with control within the institutional context. sort of like, you know, she rubs their back, they rub hers. that there is a real need for performance, which is one of the good things about this whole performa festival. that it is an experience, a skill, an art worthy (as all arts are) of being documented in varying levels within institutions. i mean, she’s been wanting to do this series for 12 years. the sounds of the credit card machine printing receipts, those fucking walkie talkies, the camera people, even the blithering idiot who told me not to stomp, etc, they all started to move within the rhythm and tedium that she controlled with her movements, her breaths, her choices. also that she only performed works by performance artists who are no longer performing. how would the series have changed, especially the dominant focus on time and documentation, were she to have re-performed a piece by an artist who is still working in this art? the last performance was really beautiful, though.
something funny–my boss (ex boss), thought, and ARGUED with me, that in order to perform marina has to “drink alcohol.” i was like, actually, the wine was part of the performance, and she maybe drank half a glass over 7 hours. and he was like, BUT you can’t deny that alcohol DOES affect you. right. right.

By: 苏西。

苏西。 — Fri, 18 Nov 2005 22:07:36 +0000

很意外找到这里。看到你写的文字。好想就像缘分一样，会常来看你~

By: J T. Ramsay

J T. Ramsay — Tue, 15 Nov 2005 23:38:53 +0000

Has Kafka’s The Hunger Artist been assimilated In the Penal Colony? The visual spectacle and the suffering…it sexualizes Golgotha, which seems at once subversive and yet somehow strangely puritanical.
The Guggenheim seems like the perfect place for something like this; when The Cremaster Cycle was there, a friend of mine sold tickets…and gave plenty of refunds to unsuspecting tourists. Then again, the experience of going to a strip bar on a slow night, say midweek, can be equally tortuous, personal and labored for performer and spectator alike. But The Guggenheim’s rigid atmosphere, the sort of thing meant to contain art, delineate its boundaries and cordon it off from lived experience, blows up the synaptic bridge that would complete the analogy between the commonplace and the conceptual.