Vito Acconci
1940 (85 лет)14 Americans: Directions of the 1970s
Nancy Rosen, Michael Blackwood
Vito Acconci, Laurie Anderson
The multiple means of making art after the end of illusionism led these artists to create performances, sculptures, earthworks, tableaux, furniture, shaped canvases, and more, using unusual materials. They explore the process of making forms and giving meanings to those forms. In this idea art, their focus is as often social and psychological as artistic. Some of their activities enlist engineering and construction techniques, others compose texts or scripts that are central to their art. Some cast the viewer in the role of a spectator, while the others demand active participation. The sources for their concepts and art works are equally diverse; the delicate proportions and balance of Early Renaissance painting, the exploration of the surface of the moon, the structure and inventions of vernacular architects, to name only a few.
14 Americans: Directions of the 1970s
Seedbed
Vito Acconci
Vito Acconci
“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)
Seedbed
Undertone
Vito Acconci
Vito Acconci
"In this now infamous tape, exemplary of his early transgressive performance style, Acconci sits and relates a masturbatory fantasy about a girl rubbing his legs under the table. Carrying on a rambling dialogue that shifts back and forth between the camera/spectator and himself, Acconci sexualizes the implicit contract between performer and viewer - the viewer serving as a voyeur who makes the performance possible by watching and completing the scene, believing the fantasy."
Undertone
The Golden Boat
Raúl Ruiz
Michael Kirby, Federico Muchnik
Inspired in form by American police TV shows and soap operas, The Golden Boat is a madcap, surreal dash through the streets of New York city, telling the mysterious and often hilarious story of an aged street-person named Austin, a comically compulsive assassin, as he joins up with a young rock critic and philosophy student named Israel Williams. In the course of their adventures, Austin pursues his object of desire - a Mexican soap opera star - and along the way engages a host of TV characters and bit players, whose repartee range from gangsterish insults to the question of God's existence.
The Golden Boat
The Art of Time
Fergus Daly, Katherine Waugh
Sylvère Lotringer, Vito Acconci
Explores some of the most innovative attempts by contemporary artists, filmmakers, architects etc to explore multiple Temporalities and to counter the uniform sense of time promoted by our technology-driven society.
The Art of Time
Claim Excerpts
Vito Acconci
Vito Acconci
A documentation of one of Acconci's most notorious performances, Claim Excerpts is a highly confrontational work, an exercise in self-induced, heightened behavioral states, and an aggressive psychological exploration of the artist/viewer relationship. During the three-hour performance, Acconci sat in the basement of 93 Grand Street in New York, blindfolded, armed with metal pipes and a crowbar. His image was seen on a video monitor in the upstairs gallery space. Staking claim to his territory, he tries to hypnotize himself through language into an obsessive state of possessiveness.
Claim Excerpts
Three Relationship Studies
Vito Acconci
In the late 1960s, Vito Acconci abandoned poetry in order to work with the body and its relationship with space, although he did retain a commitment to language. Influenced by the concepts proposed by the Judson Dance Theater and the Structuralist experimental cinema in the Anthology Film Archives, Acconci shifted his interest towards performance, Super 8, video, sound and installation, executed within the gallery or museum space. Three Relationship Studies (Manipulations, Imitations, Shadow Play) brings together three conceptual exercises in which Acconci explores one of his main themes of interest: the body as space. In this particular case, he focused on the relationship of his body with the other, his manipulation of it, and the way the shadow cast by his body manages to dominate the space outside it.
Three Relationship Studies