Open Letters to Adrian Piper – 给Adrian Piper的公开信

Feature - 01 May 2018

Open Letters to Adrian Piper

On the occasion of her MoMA retrospective, six missives to the artist from her peers

By Adelita Husni-Bey, Thomas Chatterton Williams, Aaron Flint Jamison, Pope.L, Kameelah Janan Rasheed and Dread Scott

Adelita Husni-Bey
Thomas Chatterton Williams
Aaron Flint Jamison
Pope.L
Kameelah Janan Rasheed
Dread Scott

 

Over her career of more than five decades, the conceptual artist and philosopher Adrian Piper has penned numerous open letters to magazines, editors, critics and others involved in the reception of her art. These statements are politically unforgiving criticisms of her critics: cross-evaluations of the ways in which the artist’s exhibitions and works have been (mis)read. Correctives in the broadest sense, Piper’s missives have included requests to be not referred to in a particular way (Dear Editor, Please don’t call me a –, 2003), unrelentingly circumspect fact-checking (An Open Letter to Donald Kuspit, 1987) or simply observing where others have not (To the Editor of The New York Times, 1990). Key to the artist’s confrontational and participatory forms of art making, these epistolary interventions are works of conceptual art and can be interpreted in the spirit of open debate and public discourse that is central to Piper’s thinking. As she wrote in 1980 about her Four Intruders plus Alarm Systems: ‘My interest is to fully politicize the existing art-world context, to confront you here and now with the presence of certain representative individuals who are alien and unfamiliar to that context in its current form, and to confront you with your defence mechanisms against them.’

Piper’s letters directly call out the patriarchy, misogyny, racism and ignorance that the artist’s non-epistolary works have, in part, addressed and revealed. In our fricative moment, in which individuals fray and flare up against society’s abuses of power on these very terms, Piper’s letters are prescient. They have presaged numerous instances of public-private calls for accountability: Yvonne Rainer’s 2011 letter to Jeffrey Deitch — then director of the Museum of Contemporary Art Los Angeles — about Marina Abramović’s proposed use of young, naked female performers at a gala dinner, for instance; or Hannah Black’s 2017 letter to the Whitney Biennial curators about the inclusion of Dana Schutz’s painting of 14-year-old lynching victim Emmett Till, Open Casket (2016); not to mention the countless institutional disruptions and personal-political retributions of a post-Harvey Weinstein #metoo moment.

‘A Synthesis of Intuitions, 1965–2016’, Piper’s current retrospective at New York’s Museum of Modern Art, is a homecoming of sorts for the artist, who is now based in Berlin. It is also a call-to-arms: at stake in the artist’s work is the possibility to speak or be called out, to confront and intervene, and for solidarity and friendship to exist in tandem with participation and debate: in short, for the possibility of a ‘confrontation between the self and the other’, as Piper described in  A. ~A (1974), her parameters for the work Just Gossip. Chiming with the urgency and spirit of Piper’s invectives for open critical debate, participation and intervention, frieze presents a series of open letters to Adrian Piper from six artists and writers.

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Adelita Husni-Bey, Untitled - Letter to Adrian (Version I), 2018, charcoal and gouache on paper, 30 x 32 cm. Courtesy: the artist

Dear Adrian Piper,

I always do this thing at airports where, once my flight has been called, I wait until the boarding queue gets smaller before getting up, hanging about until the very last second. Once again, I’m doing just that: peering above my laptop occasionally to see how far along people are and who has crossed the line into the area from where you can’t turn back. Yet, on this occasion, I am so engrossed in reading that the line of passengers before me shrinks and shrinks until it disappears but, still, I persist in reading. Something about what I am experiencing matters more than the flight, matters more than where I am expected to be. I race through this last sentence: ‘So, no matter what I do or do not do about my racial identity, someone is bound to feel uncomfortable. But I have resolved it is no longer going to be me.’ I am reading your text ‘Passing for White, Passing for Black’ (1991). Predictably, when, laptop folded hastily underarm, I present myself to the attendant who’s been eyeing me disquietingly, the gate is closed.

It would so happen that, on my way back from that flight, or some flight shortly thereafter, I’d present my Italian passport to the guard at the airport and he would take an unusual amount of time looking at it, inspecting the photo page with unwarranted diligence. When, having lifted his eyes from the passport, he asks me where I was born, I’m struck raw. He spends more time leafing through the empty pages and says: ‘Your name, your name threw me off.’ I think of these two incidents, unrelated, and I think of being ambiguous, of being not-quite, of being a light-skinned Arab, an Italian whose last name is threatening, who can’t quite speak either language. I think of how you brilliantly describe that position of slow banishment from both camps, from all camps to which we unwittingly belong. Author and civil-rights activist James Baldwin once said: ‘Identity would seem to be the garment with which one covers the nakedness of the self: in which case, it is best that the garment is loose, a little like the robes of the desert, through which robes one’s nakedness can always be felt and, sometimes, discerned.’ I wear your words between that robe and my body, like an armour. 

Adelita Husni-Bey
Adelita Husni-Bey is an artist and pedagogue. In 2016–17, she had solo exhibitions at Centro de Arte dos de Mayo, Madrid, Spain, and Sursock Museum, Beirut, Lebanon. In 2017, she represented Italy at the Venice Biennale, Italy. Her work is currently on view in ‘Power to the People’ at Schirn Kunsthalle, Frankfurt am Main, Germany, ‘Being: New Photography 2018’ at Museum of Modern Art, New York, USA, and ‘Re-Evolution’ at MAXXI, Rome, Italy. 

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Adrian Piper, LSD Self-Portrait from the Inside Out, 1966, acrylic on canvas, 102 x 76 cm. Courtesy: Emi Fontana Collection © Adrian Piper Research Archive Foundation Berlin; photograph: Boris Kirpotin

Dear Adrian Piper,

According to 23andMe.com, I am 39.9 percent West African-descended. The results of my genetic testing arrived two years ago by email, the details of my life organized into tidy pastel graphs and charts. They revealed many things I already knew – that I am predisposed to crave bitter flavours, for instance, and to be a light sleeper – and others that I didn’t, such as my being five percent Swedish-descended. I have spent most of my three and a half decades dutifully adhering to the ‘one-drop’ rule – that rigid plantation custom of hypodescent, arriving at an essentialized racial identity without much friction – despite suspecting deep down what my test results made plain: the majority of my ancestry is ‘Broadly Northern European’.

As the son of a driven, high-achieving, teak-toned ‘black’ father from Galveston, Texas, and an unusually unprejudiced blonde mother from San Diego, California, I somehow didn’t think much about the tenuousness of my own racial classification until I married a Frenchwoman, moved to Paris and became the father of a hilarious, towheaded, blue-eyed child. Like you, I left the US for Europe (slightly earlier, in 2011) and – in the great tradition of Josephine Baker, James Baldwin and countless nameless GIs – found the wiggle room to make my life outside of America’s stifling racial binary. I had always understood that – in addition to the attributes we project – our ancestry conditions the image of ourselves that society reflects back. Growing up, despite the presence of my ‘white’ mother, living with my father effectively certified me as ‘black’. What I did not understand is that our offspring have the capacity to reach back and reshape us. I suppose this is why some Jews say it’s not whether your grandparents were Jews that makes you Jewish, it’s your grandchildren that seal the deal. The birth of my alabaster-complexioned, though 19.95 percent West African-descended, daughter four years ago, shattered whatever racial ignorance – or, paradoxically, innocence – I had left in me. I have been trying to write my way through these circumstances ever since.

Which is why my belated discovery of your work came as such a revelation. In ‘Passing for White, Passing for Black’, you write: ‘I’ve learned that there is no “right” way of managing the issue of my racial identity, no way that will not offend or alienate someone, because my designated racial identity itself exposes the very concept of racial classification as the offensive and irrational instrument of racism it is.’ This is an insight I have intuited but that I suspect my daughter will inhabit as you describe. The trick of race, though most perceptible at the margins, is a trick against all of us. A pie chart cannot tell me who I am – or anyone else, for that matter.

I realize now that you beat me to it by a few years, but I want you to know that I have also retired from what the writer Stanley Crouch described most aptly as ‘the all-American skin game’. Maybe, just maybe, if there are more of us out there willing to do the same, we will at last arrive at the point where we can finally face each other – and ourselves.

With my sincerest thanks for signalling the way ahead,

Thomas Chatterton Williams
Thomas Chatterton Williams is based in Paris, France. He is the author of the memoir, Losing My Cool (2010), and a contributing writer to The New York Times Magazine. He is currently working on a book about how we construct race.
 

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Adrian Piper, ‘The Seven Insights/Stages of Cognitive Discernment (Yoga Sutra II.27)’, Adrian Piper Research Archive Foundation Berlin, http://www.adrianpiper.com/yoga/docs/SevenInsightsA4.pdf, accessed 26 April 2018 

Dear Adrian Piper,

After you critiqued my work, I stopped making art for two years. We were in Switzerland at a summer academy. You were a visiting artist; I was young and amongst other ‘emerging artists’. I was privileged to show you a series of mobile-phone jammers I had made for an exhibition there. You said that I had not considered the safety of the audience in jamming their communication signals.

Later that night, while at dinner, you went out of your way to speak with me again about the work. Perhaps you could sense that I was in crisis and, at that moment, you told me that you appreciated the subversive nature of the work. You reiterated, however, that you felt that it did not take responsibility for its own activity. After I recovered, I asked you if I could publish ‘Sadhana as a Tapas’ and ‘Brahmacharya, Vairagya, Kaivalya’ in an issue of Veneer Magazine, the publication I edit. In the latter text you write: 

One of the great revelations I experienced upon becoming a brahmacharin in 1985 was how much easier this practice in turn made the practice of vairagya: the gradual process of letting go of the many entanglements that bind us to the world of name, form and suffering. I don’t claim that it became easy, just easier. Before, I obsessed constantly about things, situations, people, relationships and objectives that did not develop in accordance with my plans. I also expended an enormous amount of energy in actively man-aging, guiding and trying to control them accordingly. Since, of course, none of these states of affairs were, in fact, under my control, their fulfillment or frustration of my plans, desires and managerial manipulations caused constant psychological and emotional turbulence that my sadhana just barely contained. (Veneer Magazine, 5/18, 2009, pp. 149–150)

At the time, I was struggling to understand the maintenance of my own health holistically. Comprehending how your yoga practice fit into the context of your life, writing and art also put into relief questions that I had about health interfacing more broadly with institutions. I also asked to publish this spreadsheet (above) that you made. I have spent countless hours looking at this document over the years. It has helped me answer my own questions about why  you agreed to let me republish your work in the first place. I cherish your production of that spreadsheet. I think that the decisions you make in your work are brave. I help manage a small art library and your books are the ones that consistently go missing or are returned late. I consider your website to be a very important place. I share your texts with students more than those of any other artist.

Thank you,

Aaron Flint Jamison
Aaron Flint Jamison is an artist based in Portland, USA. In 2017, he had solo exhibitions at Miguel Abreu Gallery, New York, USA, and Galerie Max Mayer, Düsseldorf, Germany, and participated in the 78th Whitney Biennial, New York. His work is on view in ‘Architecture of Storage’ at DAZ – Deutsches Architektur Zentrum, Berlin, Germany, until 20 May and in ‘Bureau of Unspecified Services (B.U.S.)’ at SALT Galata, Istanbul, Turkey, until July.

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Pope.L, Heidigger and his Clod, 2018, ink on paper, 8 × 8 cm. Courtesy: © the artist, Mitchell-Innes & Nash, New York, and Susanne Vielmetter Los Angeles Projects

A Bit of Correspondence

Once there was a black man who lived with his wife and child on a meadow under a hard, blue sky. The meadow was endless, stretching far beyond the horizon. No trees. No mountains. No buildings. No humans. Beneath the meadow, just below the skin, was a machine that cognated every word, waft and thing in the world.

One day, like every other day, the black man was tilling his garden. His brow was covered in sweat. Reflected on the surface of the droplets many times over was the image of his child walking slightly behind him dropping seeds into the furrows. Almost immediately, birds swooped down out of the blue – almost as soon as the seeds left the child’s hand – gobbling each and every seed as well as bits of flesh leaving small drops of angry red behind. The man and child continued as if oblivious but they conjured each lost seed each swooping thief each wound bereft each poisoned droplet – the coming hurry of winter. They could hear the machine grinding beneath them. Sometimes loud sometimes imperceptible sometimes like flowing water sometimes the space between two atoms some-times a thin mechanical sob. The sun expired against the blue. The black man and child gathered their tools and trudged home. As they walked, it began to snow. Large grey flakes like dryer lint. This meant it was time to talk. The father began:‘Tell me the story.’

‘Everything is in service to everything else but some things –’
‘Rebel.’
‘The meadow believes it cognates, what if not?’
‘And so –?’
The lint fell. The child continued:
‘What what if a bird say a whole flock of birds a whole knot of birds were to eat seed after seed then flying back into the blue causing the white causing the white causing a a a grave to fall down upon the entire earth, what what what then?’
‘And so –?’

Out of the squall of falling dust a mirage. They were surrounded on all sides. Hemmed in by a band of large scruffy hares bristling with great pretty eyes and wearing colourful pleated jackets. The black man stiffened, hiding the child between his strong thighs, he lunged he lunged too late too little too late. For the child. Too late. For already a cottontail was disappearing down into a burrow deep beneath the meadow cry cry cry blood with child in tow.

For several days, the wife waited carving this story into the surface of the kitchen table with the fingernail of one hand. She and the table were silhouetted against the horizon. On seeing the black man come trudging, she walked toward him. On seeing the absent space beside him she threw herself onto his chest over and over and over again. For one hundred million years the black man and his wife were inconsolable until one day in 1968 they began to receive bits of correspondence that always began: ‘I am fine,’ and ended: ‘Adrian Martha Stewart Piper’.

Pope.L
Pope.L is a visual artist and educator based in Chicago, USA. In 2017, he had solo exhibitions at What Pipeline, Detroit, USA, and Mitchell-Innes & Nash, New York, USA. Also in 2017, Pope.L participated in documenta 14, Athens, Greece, and Kassel, Germany, as well as the 78th Whitney Biennial, New York. 

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Kameelah Janan Rasheed, “Barbara”/Barbara: Chronicling Difference in Punctuation with Subtle Consequences, 2018. Courtesy: the artist

Kameelah Janan Rasheed
Kameelah Janan Rasheed is an artist and writer based in New York, USA. In 2017, she had a solo show at the Lower Manhattan Cultural Council, Governors Island, New York, and her work was included in group exhibitions at the Institute of Contemporary Art, Philadelphia, USA, Visitor Welcome Center, Los Angeles, USA, and Palazzo Contarini Polignac, Venice, Italy.

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Open Letters to Adrian Piper - 给Adrian Piper的公开信

Adrian Piper, The Mythic Being, 1973, video still, excerpted from Peter Kennedy, Other Than Art’s Sake, 1973. Courtesy: © Adrian Piper Research Archive Foundation Berlin and Museum of Modern Art, New York

Dear Adrian Piper,

When I received the invitation from frieze to write an open letter to you, timed to coincide with your exhibition at MoMA, I was thrilled. I may have accepted a fool’s errand: attempting to pay homage to you utilizing a format that you have employed incisively and powerfully for years. Your Dear Editor, Please don’t call me a – (2003) and To the Editor of Art in America (2001) are brilliant uses of the open letter as a radical conceptual form. They make me worry that I may appear as an accomplished but clueless guitarist attempting to honour Jimi Hendrix by playing for him. But I have accepted the task.

In taking it up, I instantly ran into some of the problems you have critiqued in your open letters. The invitation to write stated, in part: ‘We would like to invite you to contribute an open letter to Adrian Piper as part of this series, which will run as a single feature in the magazine. The letter might comment on an aspect of Piper’s work – black identity, passing, resistance, protest, photography, performance, exclusion/inclusion from disciplines, for instance – in any way you like.’

The phrasing of this request tends to misidentify your concerns and your approach in just the way that you have critiqued. It framed the way I was intended to consider your art and it undermines understanding the radical nature of your work. A term like ‘black identity’ cannot encompass what it means to bring the Rodney King beating and the response of George H.W. Bush into the art world as you did in 1992. Nor does ‘passing’ encompass calling people out for racist comments made in your presence. It doesn’t encompass challenging the entire concept of race and your relentless pointing out that in America miscegenation is the norm.

Furthermore, the listing of prompts omits gender. In The Mythic Being (1973) you walked the streets apparently as a male. The speech bubbles in the collages that you made of this work raise complex issues of male power, gender, sexuality, racism and public space: ‘Get out of my way, asshole.’ ‘Say it like you mean it, baby cakes.’ They are particularly relevant today. In an era when women are vigorously resisting sexual harassment and rape, I want the readers of this letter to view and think about gender as an important area of your work to address. The invitation named you as a conceptual artist. But listing photography and performance as media – not to mention the list format overall, in suggesting how to write about your work – serves to separate a cohesive practice. You are a conceptual artist even if you deploy a variety of formal strategies to achieve your artistic aims.

I am wary of adding to the litany of inaccurate writing about your art – which you have gone to great lengths to correct. Selective miscategorizations of your practice are at the heart of a limiting misunder-standing of your work. It’s not just that individuals get aspects of what you do wrong. Collectively, publications and writers with even the best of intent often don’t do the work to really engage your art. It is difficult to have one short letter or even a collection of letters address the range of your practice and its importance to me. What would it take to give readers that ability to explore the breadth of your ideas? Whom do you admire? Whose ideas do you value (other than David Hume, Immanuel Kant and John Rawls)? Whom would you have liked to write you an open letter? Given all of this, I hope you will consider the following:

Please keep demanding to be thought of as an artist.
Please keep demanding to be thought of as a philosopher.
Please keep demanding to have yoga thought of as part of your practice. (Even if I don’t understand this and personally sometimes unintentionally deny this to you.)
Please keep demanding to be addressed on your own terms.
Please keep demanding that critics actually look at your art.
Please keep demanding that critics put your work in an art-historical context.
Please keep demanding that critics write about your actual work.
Please keep making art that makes people uncomfortable because of their racism.
Please keep making art that makes people uncomfortable because of their patriarchy.
Please keep showing art that makes people uncomfortable because of their racism.
Please keep showing art that makes people uncomfortable because of their patriarchy.
Please keep working on a variety of ideas.
Please stay complex.

I look forward to seeing your MoMA show. I hope that it provides a good overview of your practice.
And I hope that critics and editors seriously engage your work when writing about it.

Best regards,

Dread Scott

P.S. I understand that you have ‘retired from being “black”’. At a time when I and other artists tend to affirm our Blackness and give ourselves permission to speak about it, your statement is characteristically challenging. I look forward to how this affects your work, if at all, and to seeing/reading/hearing more of your thinking on this.

Dread Scott is an artist based in Brooklyn, USA. In 2017, he had a solo show at Guerrero Gallery, San Francisco, USA and his work was exhibited at Galerie Barbara Thumm, Berlin, Germany, Whitney Museum of American Art, New York, USA, Jack Shainman Gallery, New York, and Barnes Foundation, Philadelphia, USA.

Adrian Piper: A Synthesis of Intuitions, 1965 - 2016, runs at MoMA, New York, until 22 July.

This article appears in the print edition of frieze, May 2018, issue 195, with the title Going Postal.

Main image: Adelita Husni-Bey, Untitled- Letter to Adrian (version II), (detail), 21 cm x 29 cm, pen, ink and gouache on paper

Adelita Husni-Bey

Adelita Husni-Bey is an artist and pedagogue. In 2016–17, she had solo exhibitions at Centro de Arte dos de Mayo, Madrid, Spain, and Sursock Museum, Beirut, Lebanon. In 2017, she represented Italy at the Venice Biennale, Italy. Her work is currently on view in ‘Power to the People’ at Schirn Kunsthalle, Frankfurt am Main, Germany, ‘Being: New Photography 2018’ at Museum of Modern Art, New York, USA, and ‘Re-Evolution’ at MAXXI, Rome, Italy. 

Thomas Chatterton Williams

Thomas Chatterton Williams is based in Paris, France. He is the author of the memoir, Losing My Cool (2010), and a contributing writer to The New York Times Magazine. He is currently working on a book about how we construct race.

Aaron Flint Jamison

Aaron Flint Jamison is an artist based in Portland, USA. In 2017, he had solo exhibitions at Miguel Abreu Gallery, New York, USA, and Galerie Max Mayer, Düsseldorf, Germany, and participated in the 78th Whitney Biennial, New York. His work is on view in ‘Architecture of Storage’ at DAZ – Deutsches Architektur Zentrum, Berlin, Germany, until 20 May and in ‘Bureau of Unspecified Services (B.U.S.)’ at SALT Galata, Istanbul, Turkey, until July.

Pope.L

Pope.L is a visual artist and educator based in Chicago, USA. In 2017, he had solo exhibitions at What Pipeline, Detroit, USA, and Mitchell-Innes & Nash, New York, USA. Also in 2017, Pope.L participated in documenta 14, Athens, Greece, and Kassel, Germany, as well as the 78th Whitney Biennial, New York. 

Kameelah Janan Rasheed

Kameelah Janan Rasheed is an artist and writer based in New York, USA. In 2017, she had a solo show at the Lower Manhattan Cultural Council, Governors Island, New York, and her work was included in group exhibitions at the Institute of Contemporary Art, Philadelphia, USA, Visitor Welcome Center, Los Angeles, USA, and Palazzo Contarini Polignac, Venice, Italy.

Dread Scott

Dread Scott is an artist based in Brooklyn, USA. In 2017, he had a solo show at Guerrero Gallery, San Francisco, USA and his work was exhibited at Galerie Barbara Thumm, Berlin, Germany, Whitney Museum of American Art, New York, USA, Jack Shainman Gallery, New York, and Barnes Foundation, Philadelphia, USA.

Adrian Piper
Open Letters
Pablo Larios
MoMA
New York
Thomas Chatterton Williams
Kameelah Janan Rasheed
Aaron Flint Jamison
Adelita Husni-Bey
Dread Scott
Pope.L

Issue 195

First published in Issue 195

May 2018


特色- 2018年5月01封致Adrian Piper的公开信,在她妈妈的回忆录之际,来自Adelita Husni Bey、Thomas Chatterton Williams、Aaron Flint Jamison、教皇、Kameelah、Kameelah等六位艺术家的密件。Janan Rasheed和恐惧史葛阿德丽塔HuNi WPA60603BR托马斯查特顿威廉姆斯WPA60300 3BR亚伦FLITT贾米森WPA60300 3BR教皇L.WPAP60300 3BR KAMELAH JANAN RASHEED WPAP60300 3BR恐惧WAPP60300 3Br在她的职业生涯超过五年,概念L艺术家和哲学家Adrian Piper给杂志、编辑、评论家和其他参与她的艺术的人写了许多公开信。这些言论在政治上是不可原谅的批评她的批评:对艺术家的展览和作品(MIS)阅读方式的交叉评价。在最广义的修正中,吹笛者的谜团包含了一个不以特定方式提及的请求(亲爱的编辑,请不要叫我A,2003),无情的事实检验(一封给Donald Kuspit的公开信,1987),或者简单地观察别人没有去的地方(t)。他是《纽约时报》1990版的编辑。艺术家的对抗性和参与性的艺术形式的关键,这些书信的干预是概念艺术的作品,可以以公开辩论和公众话语的精神来解释,这是派伯思想的中心。正如她在1980所写的关于她的四个入侵者加上警报系统:“我的兴趣是充分政治化现有的艺术世界背景,在这里面对现在的某些具有代表性的个人的存在,这些个体在其当前的形式中是陌生的和不熟悉的,并且吹笛者的信件直接唤起了艺术家的非书信作品中的父权制、厌女症、种族主义和无知,部分地解决和揭示了这一点。在我们摩擦的时刻,个人在这些条件下对社会的滥用职权进行斗争和炫耀,吹笛者的信函是有先见之明的。他们展示了许多公私电话问责制的例子:Yvonne Rainer的2011封信给Jeffrey Deitch——当时的洛杉矶现代美术馆主任——关于玛丽娜•阿巴莫维奇提议在晚宴上使用年轻、裸体的女性表演者。Hannah Black的2017封信给惠特尼双年展策展人,包括Dana Schutz画14岁的私刑受害者Emmett Till,公开棺材(2016);更不用说Harvey Weinstei的无数次机构破坏和个人政治惩罚。n个瞬间。在纽约现代艺术博物馆,Pipe目前的回顾是“1965—2016”的合成,这是艺术家的归来,她现在在柏林。这也是一种对武器的召唤:艺术家的工作的关键在于有可能说话或被叫唤、面对和干预,以及团结和友谊在参与和辩论中共存的存在:简而言之,对于“自我与他者之间的对抗”的可能性。正如Piper在《A.A.A(1974)》中所描述的,她的作品的参数只是流言蜚语。随着吹笛者的积极性和精神与公开辩论、参与和干预相融合,弗里泽向六位艺术家和作家们赠送了一系列给Adrian Piper的公开信。WEBAIGIAHAHBYCMYKJPG Open Letters to Adrian Piper - 给Adrian Piper的公开信 AdelITHuSnBee,无题-信阿德里安(版本I),2018,木炭和水粉在纸上,30×32厘米。礼貌:艺术家亲爱的Adrian Piper,我总是在机场做这件事,一旦我的航班被叫来,我就等着登机队列变小,然后站起来,直到最后一秒。再一次,我正在做这件事:偶尔在我的笔记本电脑上窥视,看看人们有多远,谁已经越过了你无法回头的地方。然而,在这个场合,我全神贯注地阅读着,在我面前的乘客线收缩和缩小,直到它消失,但是,我仍然坚持阅读。我所经历的事情比飞行更重要,比我预期的更重要。我通过最后一句话:“所以,无论我做什么或不做什么,我都会感到不舒服。”但我已经决定不再是我了。我正在阅读你的文字,传递给White,传递给布莱克(1991)。可预见的是,当笔记本电脑匆忙地折叠在腋下时,我把自己交给一直盯着我不安的服务员,大门关上了。这样一来,在我从那次航班返回的途中,或者在此后不久的一段飞行中,我会把我的意大利护照交给机场的警卫,他会花很长的时间看它,用不正当的努力检查照片页。当他从护照上抬起眼睛时,他问我出生在哪里,我被吓到了。他花了更多的时间翻阅空页,说:“你的名字,你的名字把我甩了。”我想这两件事是无关的,我想是暧昧的,不太清楚的,是一个皮肤光秃秃的阿拉伯,一个姓氏有威胁的意大利人,谁也说不出EIT。她的语言。我想你是如何出色地描述了从两个阵营缓慢放逐的立场,从我们无意间属于的所有阵营。作者和民权活动家詹姆斯·鲍德温曾说过:“身份似乎是一件遮盖自己赤裸的衣服:在这种情况下,最好的衣服是宽松的,有点像沙漠的长袍,通过这些长袍,裸体总是可以感觉到的。”有时候,我能辨别出来。“我把你的话穿在长袍和我的身体之间,就像盔甲。”阿德丽塔胡斯贝尼。在2016—17年间,她在马德里、西班牙、黎巴嫩贝鲁特的SuSoCK博物馆进行了个人展览。2017,她代表意大利参加威尼斯意大利双年展。她的作品目前在德国法兰克福希恩·昆萨勒的《给人民力量》中展出,作品是:新摄影2018号在美国纽约的现代艺术博物馆,以及在意大利马克西西的“再进化”。Open Letters to Adrian Piper - 给Adrian Piper的公开信 Adrian Piper,LSD自画像自内向外,1966,丙烯在画布上,102×76厘米。礼貌:EMI丰塔纳收藏{阿德里安派伯研究档案基金会柏林;照片:鲍里斯KIPOTIN亲爱的阿德里安派珀,根据23我是西非39.9%人。两年前,我的基因测试通过电子邮件到达,我的生活细节被整理成整齐的粉笔图和图表。他们揭示了许多我已经知道的东西,我倾向于渴望苦味,例如,作为一个轻睡眠者-和其他我没有,例如我是百分之五瑞典人下降。我花了三年半时间尽职尽责地遵守“一点一滴”的规则——那是一种僵化的低堕落习俗,在没有摩擦的情况下,达到了本质上的种族身份——尽管我深深地怀疑我的测试结果是什么:我的ANC的大部分。Erices是“广泛的北欧”。作为一个来自加尔维斯敦、德克萨斯、圣地亚哥、加利福尼亚的异乎寻常的无偏见的金发母亲的父亲,他是一个被驱动的、成就卓著的“黑人”父亲,在我娶了一个法国女人,搬到巴黎去之前,我不知怎么地没有考虑到我自己种族分类的脆弱性。变成了一个滑稽、忧郁、蓝眼睛的孩子的父亲。像你一样,我离开美国去欧洲(稍早于2011),在约瑟芬·贝克、詹姆斯·鲍德温和无数无名地理信息系统的伟大传统中,找到了让我的生活远离美国令人窒息的种族二元的摆动空间。我一直明白这一点——除了我们所设计的属性之外,我们的祖先条件也反映了社会所反映的自我形象。长大后,尽管有我的“白人”母亲,生活在我父亲有效地证明我是“黑色”。我不明白的是,我们的后代有能力回来和重塑我们。我想这就是为什么一些犹太人说,不是你的祖父母是犹太人,而是犹太人,是你的孙子们来决定这笔交易。四年前,19.95%个西非裔的女儿,我的雪花石膏的诞生,粉碎了任何种族的无知——或者说,自相矛盾,天真无邪——我已经离开了我。从那时起,我就一直在努力写作。这就是为什么我迟来的发现你的作品是这样的启示。在《White传》中,你写道:“我知道没有正确的方式来管理我的种族身份问题,没有任何方式不会冒犯或疏远某人,因为我指定的种族身份本身暴露了种族分类的概念。这是种族主义的攻击性和非理性的工具。“这是我直觉的洞察力,但我怀疑我女儿会像你描述的那样居住。比赛的诀窍,虽然在边缘上最容易察觉,却是对我们所有人的诡计。饼图不能告诉我我是谁,或者其他任何人。我现在意识到,你在几年内击败了我,但我想让你知道,我也从作家Stanley Crouch最恰当地描述为“全美国的皮肤游戏”。也许,也许,如果有更多的人愿意去做同样的事情,我们最终会到达一个最终我们能够面对对方的位置——我们自己。谨以最诚挚的谢意,感谢托马斯·查特顿·威廉姆斯·托马斯·查特顿·威廉姆斯在Pa成立。


FRIZE特稿
ARThing编译


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