Hi Johannes

I think I might have. I didn't really notice the destination. If I did then
I am now persona non grata in almost every museum on the planet ;) Nobody
likes to be called a necrophiliac - even me.

Ho hum.

I am copying this to CRUMB as well. May as well compound my troubles ...

Best

Simon


On 02/02/2011 21:42, "Johannes Birringer" <[log in to unmask]>
wrote:

> Hi Simon
>
> i am about to answer you and am not sure
> did you send this to the media curating list?
> regards
> J
>
> ________________________________________
> From: Simon Biggs [[log in to unmask]]
> Sent: Wednesday, February 02, 2011 9:26 PM
> To: Johannes Birringer
> Subject: Re: [NEW-MEDIA-CURATING] the object of performance
>
> "Cut Piece" is a performance that derives its value from the interactions of
> the artist (who is the subject and object) and the audience who are invited
> to cut her clothes. Ono's work is not as extreme or as interesting as
> Abramowic's, who also worked with knives - but where the audience cut her -
> but nevertheless a good illustration of an early work dealing with
> inter-subjectivity, the performative and the ephemeral. As a work it is
> uncollectable. Necrophiliac curators will not care though as they will
> happily archive the dead metal of video tape or the rotting chemistry of
> film. They can't archive Ono...
>
> Best
>
> Simon
>
>
> On 02/02/2011 19:55, "Johannes Birringer" <[log in to unmask]>
> wrote:
>
>> dear all,
>> interesting contribution to the Nam June Paik discussion, coming from
>> Johannes
>> Goebel and addressing the notion of
>> music as a time based non-object (or the "ideal" time based art form and non
>> object), the sound of music as uncuratable/uncollectible,
>> and, fact of matter, Johannes is probably quite right that musicians and
>> music theoreticians (and sound artists and laptop performers
>> as well) would really be great in this conversation, and i do recall that
>> Curtis Bahn and Dan Trueman (Curtis works on the Rensselaer music faculty, I
>> think, next door to EMPAC),
>> when they came to a dance technology workshop I hosted, brought their
>> instruments (custom built or modified) and their own bespoke spherical
>> speaker systems
>> along, and off we went performing and rehearsing, with interactive / live
>> real processes of sound mixed with movement and gesture, and at the same
>> time,
>> I admired these musicians as instrument builders, as i guess Nam June Paik's
>> installations/objects and artworks had that same character of the
>> artifactual....
>>
>> and did he not exhibit in "Exposition of Music" (1963), and do we all agree
>> that music cannot be exhibited?
>> what about "TV Garden" or the work with Charlotte Moorman (TV Cello,
>> Originale...), or the concepts that flowed into
>> "visual music" as an artform or (in the digital age) a form of generative
>> processes? would you argue that these are
>> video works and not music, strictly speaking, and how do you then defend
>> music
>> against the necessary materiality
>> of the instrument performance or instrument performers?
>>
>> Incidentally, i was curious that my examples (back in January)
>> from the "MOVE: Choreographing You" exhibition and the cross-media world of
>> art/performance did not elicit a response,
>> i have another example today, just seen at the Royal Academy of Arts, from
>> the
>> exhibition "AWARE: Art, Fashion, Identity"
>> here I came across a wonderful object: Helen Storey's "Say Goodbye" [2010],
>> an
>> "experimental dissolvable dress" (dimensions
>> variable) that you may think to wear but it's not to be used or bought, only
>> to be watched as it slowly, biodegradably, descends
>> and disappears into a liquid container, until it is no more. Bizarrely
>> curated
>> in this dull and predictable, and intermittently hilarious show, the
>> dissolving
>> dress hung from a guillotine-like scaffold on top of the staircase,
>> dissolving downward. I imagined heating the sound of it,
>> but the sound actually seemed to come from a near-by video/monitor of Yoko
>> Ono's 1965 "Cut Piece." It was a quiet soothing visual performance,
>> unlike her sound art that they "hung" into the MoMA last year.
>>
>> How do you collect "Cut Piece" (well, you can show the film, transfered to
>> video). is it a music piece? or a performance piece?
>> From what i understand, "Cut Piece" had one verb as its instruction: "Cut."
>> Ono executed the performance herself in Tokyo in 1964 by walking on stage and
>> casually kneeling on the floor in a draped garment. Audience members were
>> requested to come on stage and begin cutting until she was naked. Apparently
>> folks were shy and careful in Tokyo, and at Carnegie Hall the next year, less
>> shy, and sometimes these performances would get out of hand; this particular
>> performance, documented, stops after 11 minutes, not finished.
>>
>> In the context of the Paik discussion, how do curators feel about what
>> Abramovic did with Sevem Easy Pieces and her recent show (where some of her
>> early work was re-performed by young artists)?
>> Would one show "Cut Piece" in an exhibit by having it performed by some one
>> after Ono's score? thus merely "showing" the time-based sounding of the
>> work?
>>
>>
>> with regards
>> Johannes Birringer
>> dap lab, london
>>
>
>
> Simon Biggs
> [log in to unmask]
> http://www.littlepig.org.uk/
>
> [log in to unmask]
> http://www.elmcip.net/
> http://www.eca.ac.uk/circle/
>
>
>


Simon Biggs
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