bummersum: “cry of love: honey,” julie tolentino and stosh fila at the affect factory conference. “they ritually cut each other before they start”“it’s intense and amazing”“there’s honey running down her leg”“i like it when she gags” “i had no idea it was going to be like this”“i couldn’t write about it it’s too visceral” this was one of the most unexpectedly mesmerizing things i have ever seen, and i have been unexpectedly mesmerized. it was so much more beautiful and intimate than i ever imagined. 

bummersum:

“cry of love: honey,” julie tolentino and stosh fila at the affect factory conference.

“they ritually cut each other before they start”
“it’s intense and amazing”
“there’s honey running down her leg”
“i like it when she gags” 
“i had no idea it was going to be like this”
“i couldn’t write about it it’s too visceral”

this was one of the most unexpectedly mesmerizing things i have ever seen, and i have been unexpectedly mesmerized. it was so much more beautiful and intimate than i ever imagined. 

12 Feb 2012 / Reblogged from skimly with 13 notes / performance art 

yves performance for the launch of jeannes issue of women and performance made me feel like it was the 70s in a good way.  

arms length, tina takemoto, 1995  thinking about what aliza has to say about how takemoto employs failure both to represent and relate to another body. in her words:  “originating from a collaboration with angela ellsworth in which takemoto attempted to ‘visually rhyme’ the effects of ellsworth’s cancer treatment on her own flesh, arm’s length is the piece takemoto later made from one of these rhymes, where, in an attempt to mimic the injection marks on ellsworth’s arm from chemotherapy, she taped matches onto her own arm and lit them one by one, severely burning herself…i saw takemoto give a talk in which she described this project of rhyming as a series of ‘successful failures,’ pointing to the way in which her rhymes could only ever aspire to approximating the actuality of her partner’s experience…the work resonates viscerally and politically, complicating narratives of collaboration and partnership and blurring the distinction between reparative and destructive violence, between healthful productivity and sick gratuity or waste.”   this is quite lovely and depressing. 

arms length, tina takemoto, 1995 

thinking about what aliza has to say about how takemoto employs failure both to represent and relate to another body. in her words: 

“originating from a collaboration with angela ellsworth in which takemoto attempted to ‘visually rhyme’ the effects of ellsworth’s cancer treatment on her own flesh, arm’s length is the piece takemoto later made from one of these rhymes, where, in an attempt to mimic the injection marks on ellsworth’s arm from chemotherapy, she taped matches onto her own arm and lit them one by one, severely burning herself…i saw takemoto give a talk in which she described this project of rhyming as a series of ‘successful failures,’ pointing to the way in which her rhymes could only ever aspire to approximating the actuality of her partner’s experience…the work resonates viscerally and politically, complicating narratives of collaboration and partnership and blurring the distinction between reparative and destructive violence, between healthful productivity and sick gratuity or waste.”  

this is quite lovely and depressing.