Seltzer Pants
Kevin Brosnan and Joseph Cassan, Spring Succeeds, 2001, 4 min Emily Vey Duke and Cooper Battersby, Being Fucked Up, 2001, 10 min Kwabena P. Slaughter, 5 is Transformation, 2001, 1 min Sarah Conaway, Maroon Mission, 2000, 7 min Jeremy Drummond, Stallworks Act I, 1999, 1 min Eddo Stern, Sheik Attack, 1999, 16 min Sarah Conaway, Siblings, 2001, 1 min Jeremy Drummond, Stallworks Act III, 1999, 3 min Sarah Conaway, Two Dogs and a Ball, 2001, 3 min Jeremy Drummond, Spit, 2000, 3 min Kwabena P. Slaughter, Yo Tengo Un Suena Hoy, 2000, 4 min Jeremy Drummond, Untitled, 2001, 5 min Sarah Conaway, Riddle, 2001, 1 min Miranda July, Nest of Tens, 1999, 27 min
Is everything a performance? Do we perform our identities? Is the construction of subjectivity a performance? Old questions, I know, but here are some newer ones: Does every performance end in applause? Who, exactly, is applauding? And why, and for whom? I'm writing these notes, a little bit drunk, in the back of a paperback edition of Saul Bellow's Ravelstein. The first paragraph, page one:
The videos in this program are mostly by young American and quasi-American (Canadian) artists. The most cutting thing that is said about contemporary art, particularly video, is that it is often a hollow pastiche of 70s' conceptualism. A re-performance of performances that once meant something, or mean something now but only in hind-sight, in historical context. As if we were all the bastard children of Valie Export and Vito Acconci, doomed to our nostalgic, mocking imitations. But there is no reason to accept these easy dismissals. Here is one reason not: This work has a complex and profound conception of audience, of reception. If it is a truism that in this postmodern, postcolonial world we cannot rely on a hegemonic Dear Reader, cannot be sure that our audience is one of us, one of them, or one of anything — it still remains to establish a rhetoric for a heterogeneous, shifting, unfathomable audience. Implied audiences are constructed around bodies of shared knowledge and values. One strategy that many of these tapes employ is to construct multiple specific implied audiences from which the artists' — both as performers and implied authors — maintain a sceptical distance. Artist as performer, as clown, as ape. Not really a circus, but a vaudeville stage: the implied audience may be urban, Jewish, entrepreneurial, Catskill-vacationing, but the schtick works just as well with the hicks in Spokane. So: A little song, a little dance, a little seltzer down your pants.
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