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Trashy Tendencies Trashy Tendencies: Indeterminate acts of refusal in contemporary art and performance practice Owen Glyndwr Parry PhD Goldsmiths, University of London. 2013 1 Declaration I declare that this thesis is my own work and effort. Where other sources of information have been used they have been acknowledged. Name: …Owen Glyndwr Parry… Date: … 24 September 2013… 2 Acknowledgements I would like to thank my supervisor Gavin Butt for the generous guidance he has offered since day one. I would also like to thank Gavin, Adrian Heathfield and Lois Keidan of the Live Art Development Agency for taking me on as a researcher on their three-year creative research project Performance Matters. I am very grateful to them for this opportunity and the unparalleled experience it has offered both intellectually and professionally. A special thanks also goes to my fellow researcher Augusto Corrieri, and the Trash Team – João Florêncio, Vikki Chalklin, Mathias Danbolt, Oriana Fox and Jay Stewart. Our talks and discussions, salons, excursions, readings, screenings, performances, photo shoots, journal editing experiences, and parties have sustained me and kept my research appropriately off track. I look forward to more trashy escapades. A big thank you also goes to my performance collaborator Mitch, and to Lola/ Eirini Kartsaki, who has been a pillar of support and also offered feedback on my writing at various stages. My thanks go to Rebecca Collins for the feedback on Chapter 3, and to Kirsty and Tom McKaskill-Baxter, who invited me into their beautiful home in Manchester for five weeks, offering me the much needed time, space and central heating to get on with a consistent spurt of writing. I also thank Oreet Ashery for the continued mentorship, I’m With You and Brian Lobel for supporting my work, and Lois Weaver/Tammy Whynot? for grooming me into the cult of performance art in the first place. A thank you also goes to Heather O’Shea who has proof read my material on a number of occasions. My uttermost appreciation goes to David Curtis-Ring who helped collate my portfolio materials and who has given constant care and morale-boosting, along with my dear Mam and Dad, Honey Tits/Maria Agiomyrgiannaki, and the rest of my London family. This research would not have been possible without the financial support of the Performance Matters scholarship awarded by the Arts and Humanities Research Council. (2009-12) 3 ABSTRACT This thesis explores trashy tendencies as creative and critical challenges to a reputable logics of cultural production. It outlines two approaches: the first considers a re-valorisation of trash through trashy aesthetics, antagonism and modes of knowing or ironic appreciation; the second considers art that renders trash precisely because we don’t have words to describe it, or don’t know how to value it. The latter in pushing at the limits of representation often gets relegated to the status of “shit”. This is precisely what Twinkle, the protagonist of my video-performance I Wanna be in that Film, (2010) calls performance art. Through artistic and theoretical methods it asks two overarching questions: • Can trashy tendencies push beyond cultural binaries, or are they dependent upon, and remain caught within, the dualities of “high” and “low” art, “legitimate” and “illegitimate” culture? • And, how to stage, read, and write about trashy tendencies without recuperating them into institutional logic, or without producing an unsympathetic thesis? On calling forth the trashy, determined on the one hand as “low” or “cheap”, and on the other as something of indeterminate value, this thesis explores ways to push beyond the binaries, but also refuses to always line up with queer theories or complex concepts of becoming, which might strategise trash, eradicating its trashy affects. As such this thesis explores trash as a tactic, which incorporates and subverts trash aesthetics to offer something distinct from the oppositional strategies of trash cinema and political art, but also something different to conceptual strategy, non-representational art, or relational aesthetics. It argues that by paying attention to trashy tendencies (personal and impersonal) the very vital ethical, epistemological and ontological questions of art, performance and criticism are brought to the fore. Employing my art practice as a site of inquiry, it also makes use of a rigorous theoretical framework and archive of artistic and critical practices to provide focus and context for this project in the field of art history and performance studies. 4 Table of Contents Preface: After Trash? 10 General Introduction 13 Chapter 1 Context and Methodology: A Trashy Logics of Cultural Production 25 Trashy Tendencies 25 Performance: A Trashy Business 27 Trashy Histories of Art 30 Trashy Ethics 34 Trashy Seriousness 37 Trashy Historiography 39 What’s all this Trashy-Multiplicity-Non-sense? 43 Trashy Affects 45 Trashy Methodology 47 Tactics and Strategies 49 Art Practice 51 Writing Practice 54 Chapter 2 Staging Trashy Desire 56 I Wanna be in that Show/Film 56 Introduction 59 Desiring Desire 60 Failure and Glamour 65 (Not a) Performance Lecture or Re-do 71 Histories and Mysteries 76 Conclusion 88 Chapter 3 Trashy Relations and Participation Art 90 Introduction 90 Conviviality and Antagonism 91 From Strange to Trashy 98 One to One Performance 100 How to Give “Bad Audience”, Or, The Seductive Relations of the Virgin Bubble Bath 109 Performance for a stranger (2005) 113 Touching Feeling (2011-13) 117 Performance Sexploitations: A Conclusion Towards Sleaze 124 Conclusion 132 5 Chapter 4 Fictional Realness: Towards a Colloquial Art and Performance Practice 134 Introduction 134 Realness 136 From Minor Literature to Colloquial Performance 140 Strange Collocations 142 Self-Mythology 144 Gossip 147 Parody 152 Super-parody 156 Akt-schön! 162 Christeene and Die Antwoord: A New Colloquialism 169 How to Read? 178 Ima Read 180 Misreading, Mishearing 183 Conclusion 184 Public Service Announcement: Beware of the LOLing Troll! 185 General Conclusion 187 Bibliography 198 DVD. Owen Parry: Performance documentation and video (2009-13) DVD 1. 1. I Wanna be in that Show a. 5 Minute edit b. Full version 2. I Wanna be in that Film 3. Touching Feeling 4. Akt-schön! a. The O Show b. A Queer (dis)Position c. Villa 1 DVD 2. 1. Mitch & Parry a. Trouble Festival b. Performance & Cocktails c. Duckie’s 16th Birthday d. I’m With You 2. Lola & Stephen a. Episode 1 b. Episode 2 3. Owen Parry ft. Elena Trivelli 6 List of illustrations • Fig. 0: Flag/T-shirt Illustration: Owen Parry, The Che Guevara of Contemporary Art (Selfie). (2013) • Fig. 1: Illustration: Owen Parry, Original sketch of stage plans for I Wanna be in that Show, (2010). Additional text: by Owen Parry. (2012) • Fig. 2: Found Image: Observer Magazine cut out, reference lost or unknown. (2010) • Fig. 3: Performance Documentation: Owen Parry, I Wanna be in that Show, Performance Matters, Toynbee Theatre. Photo: By Hugo Glendinning, (October, 2010) • Fig. 4: Images: Ana Mendieta, Silueta series, 1970s • Fig. 5: Photomontage: Harry Shunk, Le Saut dans le Vide, (Leap into the Void) a performance by Yves Klein at Rue Gentil-Bernard, Fontenay-aux- Roses, (October 1960). Additional text: by Owen Parry (2012) • Fig. 6: Film still: Emile Ardolino, Dirty Dancing, (1987). Additional text: by Owen Parry. (2012) • Fig. 7: a / b: Facebook screen grab: Owen Parry 2009. Original image: Bading Kagalakan (Luis Lazaro Matos), (2009) • Fig. 8: Performance documentation: Owen Parry, I Wanna be in that Show, Performance Matters, Toynbee Theatre. Photo: By Hugo Glendinning, (October, 2010) • Fig. 9: Illustration: Trouble, programme illustration of Mitch & Parry, Les Halles, Brussels (April, 2011) • Fig. 10: Performance documentation: Mitch & Parry, Oceans Apart, Live @ 8, Galway, Ireland. Photo: Bernard Mills, (September 2010) • Fig. 11: Performance documentation: Owen Parry with Elena Trivelli, Milk Thing, EYHO, Hackney Empire. Photo: Darrell Berry, (November 2009) • Fig. 12: Documentation Still (with milk): Mitch & Parry, Duckie at Royal Festival Hall, Southbank Centre, (August 2011) • Fig. 13: Photo: Arsen Savadov, Donbass Chocolat, Ukraine, (1997) • Fig. 14: Performance documentation: Owen Parry, I Wanna be in that Show, Performance Matters, Toynbee Theatre. Photo: By Hugo Glendinning, (October, 2010). • Fig. 15: Image: Bruce Nauman, Walking in an Exaggerated Manner around the Perimeter of a Square, (1967-68). Additional text: Owen Parry (2012). • Fig. 16: Performance documentation: Owen Parry, Touching Feeling, Daniel Oliver’s Live Art Dogging, programme image, Reactor Halls, Nottingham, (January 2013). • Fig. 17: Image: Clyff Eylan, Thank you for not involving me in your relational art project, Winnipeg, Canada, (2009). • Fig. 18: Montage: Owen Parry, One to one performance sexploitations, 2012. • Fig. 19: a/b/c: Performance documentation: Owen Parry, Touching Feeling, Daniel Oliver Presents: Live Art Dogging, Reactor Halls, Nottingham. Photos: Julian Hughes. (January, 2013). 7 • Fig. 20: Image: Santiago Sierra, 8 Foot Line Tattooed on Six Renumerated People Espacio Aglutinador Havana, (1999). • Fig. 21: Image: Santiago Sierra, 160 cm Line Tattooed on 4 People, El Gallo Arte Contemporáneo, Salamanca, Spain, (December, 2000). • Fig. 22: Image: Santiago Sierra, Hiring and arrangement of 30 workers in relation to their skin colour, Project Space, Kunsthalle, Wien (September, 2002.) • Fig. 23: a/b/c/d/e: Film stills. Jenny Livingstone, Paris is Burning, 1990 • Fig. 24: Photo: Vaginal Davis, “Beware the Holy Retarded Whore”, 2002 photo by John Vlautin, styling and make-up Glen Meadmore, gown by Rick Owens • Fig. 25: Image: Mel Brimfield, “Bring me Sunshine”, 2008. • Fig. 26: Performance: Plastique Fantastique, “Welcome Neuropatheme Feedback Loops”, Art 13, London. Photo: Sylvain Deleu. • Fig. 27: Performance: Plastique Fantastique, “Summoning the Neuropatheme”, Long Live the New Flesh, ICA London, 12 January 2013. • Fig. 28: Stills: “Disco Tutorial”, Youtube, and Otto Muehl, “Wehrertüchtigung”, Ubuweb, 1967, • Fig. 29: Performance Stills: Owen Parry, “Akt-schön!”, Oriana Fox’s The O Show, Performance Studies International, Utrecht, Netherlands, May 2011.
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