|It was a situation where the exhibition space itself was so violent that you had real competition between the work and the environment. To try to put something that was contemplative into that space was a real challenge. That was generally the nature of the alternative-space concept.n.
Jean Highstein in "Alternatives in Retrospect, An Historical Overview, 1969-1975", published by The New Museum, New York, 1981.
Its a good quote, it got me thinking at the time, but it looks a bit dry and out of place here. It was in one of the books L. bought to the space, this writing by Jean Highstein. It makes me think of time, and more specifically duration, another sort of time
|She reads her reading. Vito Acconci stretched his apartment (she writes her writing) eighty blocks. He did this in 1970. What a nutter! my Dad says in my head. He packed half of his belongings into cardboard boxes and moved them into the gallery for the duration of his show. Each time he wanted to use something he would go 'uptown' to get it. He'd bring it Home 'downtown', use it, then return it 'uptown'. Everything that is in the gallery remains in storage. That is, in the boxes he packed them in. The gallery is a place of storage the production by means of electric energy of chemical reactions that when allowed to reverse themselves generate electricity again without serious loss. Sorry about that conceit. This work is called ROOM PIECE. 'What a nutter' whilst a valid response is not a valuable response - perhaps because it is re-sponse at all. Must everything have value (pointed, pointy). This could be marked (re)marked as the point of ROOM PIECE.||Effectively - effect - the task is to carry out the everyday tasks of existence - under the duress of extension (this is a too literal extension/) - he must move a greater distance between actions. The performance of the action requires an unpacking or a packaging (removal from storage, a debit, or a credit) and what looks like in the photo, but I'm not sure, a recording of the performance, that is, a marking, a (re)marking? or the construction of an archive - another memory device.||Broadway is a very busy street, a feeder route from the western suburbs. A big short security guard stands at the corner in a threatening sort of way. Turnkey for Council in this dispute over the rules of habitation. Walkers are curious about this place. They all look in as if they know something ... some of them stop. This part of the squat was a locksmiths. Its name is "The Keep".
Gordan Matta-Clark OPEN HOUSE Greene St Studios May 19-21 1972. MC arranges for a dumpster to be delivered between 98-112 Greene Street. He divides the space into thirds with his friend Ted Greenwald. At this time, (1972) Ted is a poet. He wrote The 'Licorice Chronicles' and other things. There is no roof. They use umbrellas. Matta barbeques a pig. The catalogue writes (records) it this way - 'Nourishment was an important aspect of the piece for Matta, who often made food for art events.' This was the beginning of cutting up/into buildings. Apparently.
|Anne is making carrot, peanut and coconut soup. Its a recipe from Ruby's. The carrots are from the dumpster. A. bought the nut products and the French baker across the road gave us the baguettes left over from the days trade. Cookies daughter has gone to work now, at the Australian Hotel up the road. She sang "The Girl from Ipenema" really well, like a vaudeville star or a cabaret act. She thinks screen culture has killed live entertainment. The sound control panel wasn't on the right setting when I tried to record her impromptu performance. But I was there, in the room. She didn't say 'screen culture'. She gestured towards this computer and me, sitting here sampling moving images and sound. Sitting with and amongst. A body is all_ways a body, this body that sits and thinks and moves and makes.|