Here are the pictures from Between the Lines (experience exchange) at College of the Redwoods. The piece has already moved from the library at the Eureka campus to another campus for the next two weeks. Sadly when I install a participatory work and then leave it I don’t get to see it fill up with responses, nor do I get to photograph later responses myself. Here are some of my images from Between the Lines (experience exchange) before I left.
To recap the action: Each participant responds to a personal question related to experiences in the book (Between the World and Me by Ta-Nehisi Coates). They write their response on one of the 600 individually painted Pages. They then drop their response in the box and take someone else’s response to hang in the frame they feel it belongs in.
The images below are the subjects for the Frames. Each one is two sides of a major theme in Coates’ book. Because I was told that some of the students (and certainly the public) would not have yet read the book I had to make certain things differently than if they had. For example, one of the major themes of the book is “The Dream”, which might sound positive if you haven’t read the book, except in context it is an almost fictional, fenced-in privileged world built on oppression which other people are excluded from, the false promise of which which keeps people from addressing the systemic problems. Since people wouldn’t know that, I used “Privilege” instead. I also put quotations from the book around each major theme to contextualize it.
Here are some of the experiences which were exchanged…
So I have a lot of thoughts on performance art. Many of them come down to the idea that when you push it to the extremes (which is one of art’s natural habitats) it becomes about enacting extremes on the body. Extreme pain (so many), extreme pleasure (Seed Bed comes to mind), sex, nudity, privation, stillness, repetitive motion… so many extremes of what the body is and what it can take. An extension of that is the extremes of emotional exposure as seen in and through the body. There are many interesting, important approaches to this, but I feel like it is ground well covered, and not what I’m interested in for my own work.
My work isn’t about me or my body or extremes, it’s about creating a platform, structure, even a ritual space for others to engage with ideas I present: with each other, with themselves, and now, possibly with me.
Ritual space is something I have been interested in for as long as I can remember. It was central to my studies in my first undergrad in History of Religions. I took a wonderful anthropology-based (Turner-centric) course on Ritual, but I saw ritual in everything from folk tales to architecture and football games. Ritual space is throughout our secular and personal lives- the ritual space of a hot bath with candles, a classroom, a bar, a gallery or a public library. These spaces have forms, rules, and roles which set them apart from other spheres and spaces in our lives and they create feelings and thoughts unique to those spaces. In these spaces we are ourselves, and yet ourselves in a specific role or character to fit the space, observing certain rituals of that space (a 3rd grade teacher will be themselves at both a bar and their classroom, but different selves).
In #DadaTarot I am creating a ritual space for the action to happen in. That action requires a mediator with a certain level of otherness and authority. A slight change of clothing and demeanor is enough to create this. I am still very much being myself, but I have given myself certain rules (some of which I specifically gave myself permission to break). The rules, the clothing, demeanor and the simple object of a table give me the structure of a ritual space for the piece to work in. Given the nature of Dada I didn’t even allow myself anything fancy for the table- it is a ready-made cocktail table and the covering was the first plain black piece of fabric on the top of my fabric pile, not sewn or tidied in any way.
For this piece, the Role of Barker/carnival worker has to be there to set the interaction apart from other gallery interaction, but also to get the participants to enter in a questioning way. These roles are known for being untrustworthy. I want people to come to this project with skepticism. For this piece I would absolutely not dress in any kind of clothing associated with actual fortune-tellers with very good reason: my role does not actually involve doing the fortune-telling. That I leave to the participants. The barker’s role is to bring bystanders into the action and tell them what the rules of the game are, which is what I do.
Me in the role as artist would to explain the piece and how it fits into my work. In the case of me performing in this piece (as opposed to someone else performing the piece while I stand next to it as Artist) I mostly steer clear of this. If they press, I mostly answer as Barker, not artist as to the nature of the piece. That said, I am remaining myself. This performance allows for expressing what I want to say, holding back, and then allowing myself to be pressed for an opinion, even as I say I should not really be giving it… which is what good Barkers do too.
I suspect more of my work is heading in this direction. Most of the participatory works need some kind of “baby sitter” during interactions to explain the interactive process to people and to keep people (especially drunk people) from breaking them or walking away with parts of the art. Mostly the ritual space of Gallery with the role of Gallery assistants covers this. Now that I am looking this aspect of my work in the face and acknowledging that what I am creating with my installations is ritual space (inside the ritual space of gallery/museum/etc.), it logically follows to incorporate ritual roles for certain works.
*note: I am fully aware that not all performance art involves extremes, and there is a lot of performance art out there (physically extreme and not) which I admire. A lot of it is politically extreme and I applaud that too. This studio blog post is about my own artistic path.
#DadaTarot at the SFAI alumni show (curator Katya Min of the Yerba Buena Center) was especially interesting because it was right after the election (November 13th and 14th). There were unsurprisingly a fair number of questions about the direction of the country. Notably a few of these were answered with a U-Turn sign. One question about whether “It was going to be okay” (post election) was answered by a picture of Trump making a rude gesture with his fingers, a plane and a car. Definitely an intense and rattled climate here in liberal San Francisco at an art school.
The gallery environment of the Diego was more open space with people coming into the gallery in a steady stream of singles and small groups for hours. The pace people approach a piece and how much they see of what other people do first really changes the dynamic. In this case people were greeting it almost on their own, or one group at a time. One of the best dynamics in this case was two strangers wanting to do the piece, but lacking a partner they knew. There were people who looked like they had little in common (age, clothing, etc.) who seemed deeply skeptical of each other, but in a couple cases embraced after doing the piece together and found they had ideas to offer each other. This was one of my hopes for the piece. Really, it has worked out to be everything I hoped for and more. While the records are interesting, the interaction itself is the core of the piece.
#DadaTaroT was at Pataphysical Studios’ special exhibit on the ‘Pataphysics of Dada’ as part of Citylights Dada World Fair. Here are the participants from the Nov. 5th event.