Rebecca Patek Art Anxiety and Censorship at Moma Ps1 a Panel

Rebecca Patek is a New York–based performance artist and choreographer whose work combines elements from trip the light fantastic toe, comedy, and the visual arts to create oft uncomfortable theater and performance situations that involve instances of satire and violence. Equally part of MoMA PS1's latest iteration of "Greater New York," Patek was invited to perform a new work for an upcoming Dominicus Session, titled "The Cringe: Performance and Feet," forth with the artist Ieva Misevičiūtė, who will also exist presenting on Oct xviii, 2015. Here, Patek discusses the precarious development of her new piece.

I'M INTERESTED IN the highly choreographed ways in which porn is edited and shot. My original idea for this slice was to accept a porn shoot in the VW Dome, which is located outside the museum. I was going to take a live-streaming camera shooting during a console discussion—actually the panel was going to get the porn shoot and the actors were going to be played past PS1 staff. At that place were too going to be actors playing security guards; one was going to be an escort named Hunter. The male escort service Cowboys 4 Angels has a cowboy named Hunter, and I wanted to rent him but it didn't piece of work out. (I actually met with him and he was kind of a jerk.) My thought had been that Hunter would say to me, "Alibi me, ma'am," and make it obvious that he's non a guard, and so we'd have sex on the panel table. I planned to edit information technology as "MoMA Porn" and post it on pornography websites. Part of this idea was about looking at the alive thing and then realizing that the live thing is for the camera.

Sexual activity with consenting adults is something the fine art earth tin handle. I've been to MoMA and I've seen mainstream porn repurposed as art—cutouts from magazines and so forth. To me, that could exist considered more offensive than what I wanted to do, which was actual, existent sex only in a way that tears down porn, that makes it awkward and uncomfortable only too maybe pleasurable. It wouldn't be operation as glossy and glamorous—I wanted to undercut that version of pornography.

In the cease, MoMA HQ rejected most of my ideas. Slowly all the elements in the piece had to be stripped abroad and I realized all I had left was a panel talk. Then I fabricated a documentary almost the 3 months of making the piece, which is what I'll show.

Rebecca Patek discusses her upcoming operation at MoMA PS1.

I understood that the staff being involved was a no-no, but I still wanted to apply the museum logo in the edited porn videos I concluded upwardly making. The dome itself too just seemed and then good for porn, especially with the gray carpet and lighting. And I think a table with h2o and mics would be a funny setting for a shoot. Since the whole matter was going to exist set up every bit a scene for something else, with the final product being a video that could be uploaded to other sites, it wasn't actually a performance; it was only a shoot. The audience would take been voyeurs and at that place would take been close-ups projected onto the dome walls. Of course, I didn't look the museum to say yeah to everything. It was just my fantasy thought. Just what I didn't realize was that this piece would become so much virtually the institution. I never planned to make a operation about PS1's rules—that was never my intent.

There are so many unknown factors in functioning, particularly when you're commissioning a work that's never been seen before. The museum didn't really know what I was going to exercise, and and then there was a fear both of the unknown and of bodies. I made the people at the museum anxious, from the beginning, I think, but considering nearly of the work entering a museum has been made already. And then it was the not knowing in improver to the fact that I had proposed something sexual. Oh, and also that it could fail—that it could be both bad in quality and offensive at the same fourth dimension.

Maybe they should just disown the dome—it's already outside the museum, anyway. Perhaps they should only let it exist a place where things happen that we don't have control over.

— Equally told to Samara Davis

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Source: https://www.artforum.com/interviews/rebecca-patek-talks-about-her-performance-for-greater-new-york-at-moma-ps1-55544

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