Y’see, The Strip Club Will Just Not Do For Your Overlords

Gotta love artists duking it out over a piece. This smells to me like one artist getting some column innches on the back of another’s name, but I could be wrong. I’ll say this, though, this is more real than wrasstlin’ folks.

Well, here’s the scenario: influentia performance artist Marina Abramovic was tapped to create a piece for a cash-begging gala at the Museum of Contemporary Art in Los Angeles. You aren’t a real artist until rich people say you are, and they have said for a long time Ms. Abramovic is. The performance she plans to put on this evening is known to us, thanks to Yvonne Rainer, another artist. Ms. Rainer singlehandedly created a controversy with a letter of protest:

I am writing to protest the “entertainment” about to be provided by Marina Abramovic at the upcoming donor gala at the Museum of Contemporary Art. It has come to my attention that a number of young people will be ensconced under the diners’ tables on lazy Susans and also be required to display their nude bodies under fake skeletons.

This description is reminiscent of “Salo,” Pasolini’s controversial film of 1975 that dealt with sadism and sexual abuse of a group of adolescents at the hands of a bunch of post-war fascists. Reluctant as I am to dignify Abramovic by mentioning Pasolini in the same breath, the latter at least had a socially credible justification tied to the cause of anti-fascism. Abramovic and MOCA have no such credibility, only a flimsy personal rationale about eye contact. Subjecting her performers to public humiliation at the hands of a bunch of frolicking donors is yet another example of the Museum’s callousness and greed and Ms Abramovic’s obliviousness to differences in context and some of the implications of transposing her own powerful performances to the bodies of others. An exhibition is one thing — this is not a critique of Abramovic’s work in general — but titillation for wealthy donor/diners as a means of raising money is another.

Ms Abramovic is so wedded to her original vision that she – and by extension, the Museum director and curators — doesn’t see the egregious associations for the performers, who, though willing, will be exploited nonetheless. Their desperate voluntarism says something about the generally exploitative conditions of the art world such that people are willing to become decorative table ornaments installed by a celebrity artist in the hopes of somehow breaking into the show biz themselves. And at sub-minimal wages for the performers, the event is economic exploitation as well, verging on criminality.”

This grotesque spectacle promises to be truly embarrassing. We the undersigned wish to express our dismay that an institution that we have supported can stoop to such degrading methods of fund raising. Can other institutions be far behind? Must we re-name MOCA “MODFR” or the Museum of Degenerate Fund Raising?

Sincerely,
Yvonne Rainer
Douglas Crimp
taisha paggett

With that lurid description and righteous denunciation of the piece the pubication of which is surely guaranteed to bring out the thrill-seeking ultra rich. (Artist, take note. Coordinate conflict in public like rappers trading diss tracks. It’s good for business. If you can get the LA Times and Artinfo.com to help stir the turds, so much the better.) I can see a statement here on the exploitation of artists and the poor, but it may just be my bias showing.

This is LA, so all that is needed is a Lady to go Gaga at the event:

Someone who attended the audition write to Yvonne Rainer about it, but I can’t find attribution. Remember folks, get your name in there:

So, I spent an hour today at the Abromovic [sic] audition at MOCA. The deal is that the artists/dancers she will hire will spend 3(!) hours under the dining tables of the donor gala with their heads protruding from the tables. They will be sitting on lazy susans under the table and slowly rotating and making eye contact with the donors/diners. Of course we were warned that we will not be able to leave to pee, etc. That the diners may try to feed us, give us drinks, fondle us under the table, etc but will be warned not to. Whatever happens, we are to remain in performance mode and unaffected. What the fuck?! And the chosen performers are expected to be there all day friday and saturday. The hours probably total 15 or more and the pay is $150 (plus a MOCA one year membership!!!). I am utterly appalled. This should be illegal. There is another audition for another role where the performers lie naked on tables with fake skeletons on them. Since I cannot stomach being a turning, severed head while people get drunk in front of me, I am seriously considering taking a naked role and performing an intervention at the gala celebration where I use my body as a surface to communicate the fact that I worked x number of hours for $150. I swear I need to do something…to speak for my community of artists who are being taken advantage of by major museums. sick shit.  God, we need a revolution.

As a wise man once wrote, Rome wasn’t burned in a day. True enough, but any time is good for fiddling.

http://www.artinfo.com/news/story/750038/yvonne-rainer-denounces-marina-abramovics-planned-moca-gala-performance-as-grotesque
http://theperformanceclub.org/2011/11/yvonne-rainer-douglas-crimp-and-taisha-paggett-blast-marina-abramovic-and-moca-la/
http://latimesblogs.latimes.com/culturemonster/2011/11/yvonne-rainer-protests-marina-abramovic-plans-for-saturday-moca-gala.html
http://www.galleristny.com/2011/10/marina-abramovic-recruits-moca-la-gala-performers-through-facebook/
http://fora.tv/2010/11/12/LIVE_from_the_NYPL_Antonio_Damasio_and_Marina_Abramovic

http://animalnewyork.com/2011/11/marina-abramovics-allegedly-kinky-criminal-moca-gala/

Cirxus London Performance

FoolishPeople, whom a vfew of you will have come across if you followed the links around the full circle of the “Elements” podcasts have just made an announcement. kkompatriotss in the kkontinuum that is kkoagulaa, FoolishPeople, one of whom is our very own eemersonn are set to begin a run of their latest piece of Weaponized Art in London on May 25. We are excited about this and urge all who can make it to enter the experience of Cirxus.

Come back often in the coming weeks, as we share the art and design process for “Aurum Nostrum No0n Est Aurum Vulgi”. We will have news on this release shortly.

CIRXUS

25th May – 13th June 2009

Starting time:
8.30pm & 9.15pm
STUDIO K

Written and directed by John Harrigan
1957- Seascale, the North of England. Cirxus is an old English circus lost in the shadows of the smoke stacks of Calder Hall, the world’s first commercial nuclear power station. FoolishPeople will use mythology, shamanism, music and dance to bring the darkness of an atomic circus to life. The performance will allow audience members to step into the world of an old English circus lost in the 1950s, explore its sideshows and meet extraordinary characters from the past and future.
Athalia the ballerina waits in the ring for Loudon the Clown to return with directions to the Black Pool, the mythic site of the Home Sweet Home, the final show of the season. Join her as she begins a bizarre and wondrous search for Loudon through the irradiated secrets of Cirxus, where she must face the macabre atomic menagerie, haunted by circus animals and navigate her way through the maze of strange, hallucinogenic sideshows on the other side of time. Immerse yourself in the world of Cirxus, where theatric arcana and Atomic fallout irradiate the sawdust arenas of our inner worlds.
Presented by FoolishPeople
Written and Directed by John Harrigan

Creative Team
John Harrigan
Lucy Allin
Victoria Karlsson
P. Emerson Williams
Claire Tregellas
Tereza Kamenicka
This is a promenade performance in Arcola’s new industrial space, Studio K. Cirxus is based on fact: the German Bremen University confirmed that radioactive contamination by Americium-241 found in some soil samples taken by Greenpeace 11.5 km south of Sellafield, were 400 times higher than those taken 11 km from Chernobyl. 51 years on, the villagers of Seascale still live with the ramifications of the accident at Pile 1 of the Windscale Works Atomic Energy Factory.
Cirxus will be FoolishPeople’s first London performance run since the critically acclaimed Dead Language at the Institute of Contemporary Arts in 2007.
TICKET INFORMATION:
• Ticket Prices £14/£10
• Tuesdays ‘PAY WHAT YOU CAN’ (subject to availability)
• Free tickets are available for under 26s under the Night Less Ordinary Free Ticket Scheme Monday-Thursday evenings for the first 2 weeks (please ring box office more information) PLEASE NOTE:
• No concessions on Fridays and Saturdays
• Proof will be required for concessions
• All tickets are NON-REFUNDABLE

Cirxus Image by P. Emerson Willliams.