“All artists are alike.
They dream of doing something that‘s more social,
more collaborative, and more real than art.”
Artificial Hells: Participatory Art and the Politics of Spectatorship
Can art and life be separated? Can we recognise the art in life (do we want to) or do we have to contextualise it for some greater good? Two artists in a situation of complete isolation, while the museums and the gallery are closed, the socialisation is impossible and overwhelmed by motherhood are trying to move the boundaries between the private and public agencies. They create a chaotic micro-world that only they believe in, which gives them hope that art will survive, that it is real and stronger than the reality surrounding them. The resulting turbulence and conflicting perspectives on femininity, feminist criticism, intellectual work, housework, and raising children are a homage to the performer’s private and public life. The question is, where does the intertwining of such perspectives lead? Is it the resistance and persistence that keeps art in life or life in art? Is the built tension between inner and outer life threatening or promising?
Bojana Kunst, in her book Artist at Work, concludes:
“The disappearance of the border between life and work in the
late-capitalist work processes actually leads to the disappearance of possibilities for
an emancipating alliance between work and life, an alliance that can take place
through the constant politicizing of this difference that reveals the paradoxes of
contemporary autonomy, the illusory possibilities of choice and self-organization ofone‘s life.”
We can conclude that the contextualised paradox of contemporary autonomies is perhaps more realistic than art, in the way Bishop suggests.
“Audio Recording, January 2021” Is A Continuation Of The Work “Kitchen”, Recorded In 2013 And A Sort Of Sketch For The Future Version Of This Performance. Audio Recordings Are Samples From Everyday Life (Cooking, Pumping Milk, Washing Dishes, Making Coffee, Taking Care Of Children), And Simultaneously Focusing On Gender Issues. These Passages Of Those Moments Of Life That Are Determined By Biology And Social Construction Are Enhanced By Reading Quotations From The Following Sources: Judith Butler, Notes Toward A Performative Theory Of Assembly, Usa, Harvard University, 2018; Beatrice Von Bismarck, Benjamin Mayer-kahmer, Cultures Of The Curatorial 3 / Hospitality: Hosting Relations In Exhibitions, Potsdam, 2016; Bojana Kunst, Artist At Work, Proximity Of Art And Capitalism, Winchester And Washington, 2015; Griselda Pollock, Vision And Difference: Feminism, Femininity And Histories Of Art, London And New York, 2003; Griselda Pollock, Encounters In The Virtual Feminist Museum: Time, Space And The Archive, London And New York, 2007; Maura Reilly, Curatorial Activism: Towards An Ethics Of Curating, London 2018; Berger, John, Why Look At Animals? Penguin, 2009: Hanna Arendt, Totalitarizam, Artprint Novi Sad 2013; Zaharijević, Adriana, Ko je pojedinac?: Genealoško propitivanje ideje građanina. Karpos, 2014; Stokowski, Margarete, Untenrum frei. Rowohlt Taschenbuch Verlag, 2018; Woolf, Virginia, and Barrett Michèle, A Room of One’s Own; and, Three Guineas. Penguin Classics, 2019; Acaso, María, “From Art Education To Art Education: Making The Education Revolution Into The Visual Arts Teaching Arena.” Wat’s Next? Ein Reader, edited by Torsten Meyer, and Gila Kolb.Koaped Verlag, München, 2015; Hormann, Elizabeth, and Guóth-Gumberger Márta, Stillen. GRÄFE UND UNZER Verlag GmbH, 2014.
Berlin/Hamburg, 25 Januar 2021
“All artists are alike.