Acconci Chapter 2

From Paradise

Jump to: navigation, search


S.R.: For us, we visited your very impressing exhibition in April and...[...]

V.A.: Ah, you mean here in New York at Barbara Gladstone. That was specifically that period you were talking about.

S.R.: And we were talking about if it would be possible to come [...] to artistic approaches like this in the present time. What do you think about that?

V.A.: For me the work came so much out of the fact that I was from another field. I was a writer. The first work I did in an art context was a way for me almost to get off the page. Now that I am in real space, what do I do there, what makes me move in real space? What interested us in doing that show was that... there were a number of prototype pieces that maybe a lot of people know but it seemed like the work of that time was a process of trying to almost extrude my body into real space. How do I feel my way around real space? How do I feel my way around experiential space? So it was about a process of pieces, it was almost like every day another piece, every day a few pieces. It's difficult for me to say, is that possible now? I think it's kind of significant that performance and activity probably usually comes early in a person's career, because performance is almost something between fields. It's between maybe [...] art and theatre, but I don't know if it can last. Maybe eventually it either becomes something like sculpture, something like architecture, something like theatre, but I wonder if performance is a way of trying out things and [...] it should seem like that it can happen in any time. But remember, it was also a time in which notions were a very important thing on a lot of our minds, and when I say »our« I'm speaking of people who didn't necessarily know each other. But we all worked in a certain time, we knew each other's work. A lot of us had many, many objections to the notion of an art gallery, an art object as a saleable thing. This seemed like a thing of the past.

« Vito Acconci »