Making its way across the web as I write is a story about the exploitation of performers at the hands of Marina Abramović. ARTINFO is running the best recap of the story, and Hrag Vartanian at Hyperallergic has picked it up and carried it as well, but here’s a brief:
Abramović was tapped by LA MOCA to produce a performance work for the Museum’s annual gala. The outcome? Each table at the gala comes with a performer getting paid $150 to sit under it on a slowly-rotating lazy-susan with his or her head protruding up through the table’s center, which carries the promise of intermittent and likely uncomfortable eye contact throughout the evening. One human-centerpiece-to-be was none too happy about such future prospects and sent a missive to Yvonne Rainer, presumably because Rainer’s position in the artworld is unassailable, her politics predictable, and her network far reaching. Rainer in turn decried the spectacle in a letter to Jeffrey Deitch, which was published on the web as co-signed by Douglas Crimp, Taisha Paggett and, according to ARTINFO, Tom Knechtel and Monica Majoli.
In response to Rainer, Abramović told ARTINFO, “All these accusations, you can’t have them before you actually experience the situation and see how I can change the atmosphere [of the gala], that’s my main purpose.” And in a comment to the LA Times, Jeffrey Deitch said, “I would just hope that when people make allegations like this, they would actually come to see the performance and talk to the performers.” To make good on that, Deitch invited Rainer to a rehearsal of the piece.
Continue reading “On seeing a performance of exploitation…”
My barometer keeps jumping. One minute it’s backs-to-the-walls time, the next it’s all lavish parties and third venue vernissages. It has seemed like a growing, healthy trend for performative, lively and cheap art would be neatly distilled in the line-up for this year’s Frieze Art Fair Projects, curated for the first time by Sarah McCrory, formerly of south London’s small curatorial hotbed, Studio Voltaire. McCrory has commissioned Spartacus Chetwynd (née Lali Chetwynd) and her travelling troupe of players to create daily spectacles in the fair on the obscure subject of tax havens (of course, much inter-fair art revolves around the necessarily thorny question of the perceived evils of the surrounding arena of commerce). A wandering group of ‘Ten Embarrassed Men’, by Swedish-born artist Annika Ström, will prowl the fair looking shamefaced – the emasculation of artists or bankers, maybe? There will also be judiciously placed charity boxes (designed by artists, of course) to tempt collector’s monies elsewhere, as well as lots of free-to-air fun in the surrounding park.
Who are they all kidding? Hauser & Wirth are opening their third or fourth space in London (I have genuinely lost count, but it’s definitely the biggest) with a retrospective of fabric works by Louise Bourgeois. Sadie Coles upscales next-door, the Blain-Southern dealership duo split from their Christie’s holding pen, Haunch of Venison, to open a new gallery as well. Then there are Russian squillionaires galore putting on one-week one-offs including pricey Picassos, New York galleries dipping their toes here… I could go on, ad infinitum. My magazine lists some 200 shows on, or opening, in the now designated ‘Frieze week’ frenzy, most of them seemingly launching on Tuesday with a brunch, lunch, press view, rooftop after-party or oyster-laden dinner. Who’s right and who’s wrong? Is art in some kind of reactionary, recessionary funk? The more it gets hit, the harder it fights back? Or are the commercials slowly moving back into easy street, while the public sector prepares for a governmental pounding at the hands of David Cameron’s October 20 spending review/slash-fest? It could be a fall bounce or just the preamble to another, bigger fall.
For its tenth birthday weekend just gone, Tate Modern staged No Soul For Sale, a non-profit ‘Festival of Independents’, bringing 70 artists’ collectives, publishers and non-commercial spaces from all over the world to fill its Turbine Hall. Well, perhaps ‘inviting’ would be a more accurate word to use, rather than ‘bringing’, as each participant had to pay their own way, with resourceful galleries doing last minute fundraising events and even garage sales to afford their flights to London from as far and wide as Beijing, Rio and Melbourne. A necessarily scrappy and messy affair ensued, with many No Soul For Salers showing only what they’d been able to squeeze through hand luggage or the symbolically empty packages they’d sent ahead of themselves.
This perceived lack of financial support drew fire from an anonymous British group of artists and arts professionals, calling themselves Making A Living. In an open letter to Tate, widely emailed and posted online, they took umbrage with No Soul For Sale’s ‘romantic connotations of the soulful artist, who makes art from inner necessity without thought of recompense’ as well as the concomitant expectation that ‘we should expect to work for free and that it is acceptable to forego the right to be paid for our labour.’
In an interview I conducted beforehand with the curators of No Soul For Sale – Maurizio Cattelan, Massimiliano Gioni and Cecilia Alemani, with Vicente Todolí on behalf of Tate – here, they defend the event (once previously staged as part of X-Initiative in New York) variously as ‘a tribute to the people, the artists and the art lovers who work beyond the traditional market system’ (Cattelan), or an act of ‘hospitality and generosity’ (Alemani). While Gioni adds that, ‘Nobody really ever pays respect to the people who work in situations in which there is very little money involved and yet a lot of energy and enthusiasm’, Todolí qualifies this by saying: ‘Obviously we are not the only ones being hospitable here. All the participants are … as generous as Tate, if not more. But that’s when things get interesting: when people are willing to share, going beyond any immediate quantifiable gain. Continue reading “Money for nothing”
Can you keep a secret? But please don’t tell anyone, because if you do, knowing how the art world is, no one will go see the Tino Sehgal show at the Guggenheim. No, its not that the museum’s walls are completely bare and that the admission price continues to be the same. No, its not that there is an uninhibited couple endlessly kissing amidst the Rotunda. No, its not that the show is not worth visiting —on the contrary. Ok, here it is: the work is not really a performance art piece, and not so much of an artwork either: it is an education program.
I imagine that no one will agree with me, but that’s OK— I have my reasons. Sehgal took a situation that takes place daily at the museum —people having directed or undirected conversations— and extracted the art from the equation. (In the spirit of disclosure, I used to work at the Guggenheim’s education department there for seven years, organizing the museum tours and talks, which may have colored my experience, but I think that is besides the point).
For those of you who still have yet to visit, here is a report: As I went up the first ramp a 9 year-old girl greeted me. “Welcome, this is a piece by Tino Sehgal. Can I ask you a question? What is progress?” As we walked up the ramps, I spoke about wanting to become a better person when you grow up. While I was trying to explain that, a teenager appeared and took over, while the 9 year-old disappeared. “Can you elaborate?” As I labored to understand myself what I had meant after a few minutes a tall guy in his 30s arrived speaking to me about sprinting, which tied somehow with progress. He was replaced a bit later by an older man in his 60s who told me: “you know, my two best friends are alcoholic, and I wonder what that’s about.” This conversation became the most existential of all, so much so that neither of us had realized that we had reached the top of the ramp and my interlocutor was so absorbed by it that he temporarily forgot that he was part of an art piece. “Oh my god”, he said. “Usually I am not here by this point”. Then he added: “Thank you. This is a piece by Tino Sehgal” and left. Finally alone, I felt a bit of melancholy at that point, I am not exactly sure why. Continue reading “Is it just art or is it progress?”