In Lee Walton's most recent project, he will perform what his Friends on Facebook are doing.
This film is an experiment in outsourcing everyday life. In it we hired 50 actors to take over all aspects of our daily routines and roles as parents, spouses, professors, artists and friends. The actors play opposite their real counterparts - our kids, our students, our friends, in our studio, presenting our work.
In this “tour de force of feminine responses…executed in a wild range of media,” Sophie Calle orchestrates a virtual chorus of women’s interpretations and assessments of a breakup letter she received in an email. In photographic portraits, textual analysis, and filmed performances, the show presents a seemingly exhaustive compendium with contributions ranging from a clairvoyant’s response to a scientific study, a children’s fairytale to a Talmudic exegesis, among many others. Examining the conditions and possibilities of human emotions, Take Care of Yourself opens up ideas about love and heartache, gender and intimacy, labor and identity. 107 women (including a parrot) from the realms of anthropology, criminology, philosophy, psychiatry, theater, opera, soap opera and beyond each take on this letter, reading and re-reading it, performing it, transforming it, and pursuing the emotions it contains and elicits.
For an interview with Sophie Calle, where she discusses the exhibition of Take Care of Yourself at the French Pavilion in the 2007 Venice Biennale, go here.
This month I’m traveling through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part one of the travelogue is about Ljubljana, Slovenia.
Before the Internet Pavilion, there was the first meeting of nettime at the 1995 Venice Biennale. Vuk Ćosić, one of the core participants, told me about it over lunch in Ljubljana last week. Internet theorists and artists gathered for three days of discussion just upstairs from Club Berlin, a non-stop rave where art stars worked the bar. “I remember Joseph Kosuth handing me a beer,” Ćosić said.
The rave was a recurring theme of the four days I spent in Slovenia, and there seemed to be more to it than the Slavs’ enduring love for techno. My visit happened to coincide with the opening night of Sonica, a sound art festival, and the kickoff featured Andi Studer and Matt Spendlove’s Netaudio Ping Pong, where two players build dance music by taking turns at composing four-bar phrases on mixers installed on two ends of a ping-pong table. Škuc, a gallery that has been showcasing progressive art since 1978, was hosting a “live archive” of Slovenian video art from the 1980s and 1990s, and I spent an hour watching works by Mirko Simic, including distillations of his veejay acts at parties fifteen years ago. On Wednesday night, Luka Prinčič performed at a small theater in a university’s basement; between the somber, wordy beginning and end, he danced himself into a sweat wearing silver tights and sparkling tank top. The next night, after a presentation at Kiberpipa where he demonstrated his Puredata modification that introduces elements of probability to the dance tracks he writes to accompany his ...
"DG: So just to clarify, you and John Cale took the side of contingency, materialism, and cultural and historical specificity, and La Monte Young and his supporters took the side of permanence, ‘the eternal’ and that which transcends culture and history.
TC: Right. Which led me to become engaged in a reflection on the intersection between idealism in Western philosophical thought and in Western cultural tradition on the one hand, and on the other hand power relations - since our controversy was largely lodged in the context of a legalistic formulation. What about our Greek roots? What about Pythagoras? What about theories of music that had to do with numerology? This ensnared me in a set of concerns around the text of history. To answer your question more directly, the substratum of my current interests, and those that have held my attention most over the last few decades, has to do with the way in which the historical record can become the narrative. On the sound side, this process was really rich, and it branched out. I began to tell myself odd things, like modern physics had been generated as a branch of music. The power conditions in the Western orchestra had their roots in the same conditions as modern state bureaucracies and military drill practices. This gives rise to an analysis of how power is transacted that is not inconsistent with Foucault’s theories, but culturally modulated in a different way."
Using the public/commercial space of the online trading community Ebay in conjunction with his online catalogue Allmylifeforsale.com, John Freyer catalogued and sold nearly everything that he owned, from his kitchen cutlery to his personal hygiene products, his Star Wars sheets and finally even the domain name Allmylifeforsale.com itself.
In 2000, Michael Daines, then a 16-year-old high-school student in Calgary, attempted to sell his body under eBay's sculpture category. By treating his body as a sculptural object, this project recalls the work of Eleanor Antin, Chris Burden, Gilbert and George, and other Performance artists who used their bodies as a medium in their work.
Note: The Body of Michael Daines is no longer available online, but you can read a 2002 interview with the artist by Eryk Salvaggio here. For a shorter, informal interview with Daines about the project, also conducted by Salvaggio, go here. The work was briefly mentioned in Artforum in 2001, here.