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C Ou Rtesy C Lau De W Am P Alle Abbildungen / All images: Courtesy Claude Wampler 110_119_Spike50_P_Wampler.indd 110 11.12.16 11:48 Claude Wampler Portrait Left: Family Portrait (Joan Brown), 2016 Im Uhrzeigersinn / Clockwise: Knitease: Ms.LeFarge 111 Gives Another Historical Performance, 1998 Don’t Believe in Yourself (Bowie Buddha #3), 2001 Papier, Bleisteift, fluoreszierende Tinte / Paper, graphite, UV reactive ink 38 x 25 cm Present Absence, 2001 Performance mit / with Wouter Krokaert Vulture vs. Unicorn: F. U. G. L. Y. you ain‘t got no alibi, 2014 Latex und Stoff / Latex and fabric 61 x 61 x 25 Fictitious Fashion: Photo: Chris Winget (Pregnant Dog) Pregnant Dog, 1996 110_119_Spike50_P_Wampler.indd 111 11.12.16 11:48 Pomerania (AbuPom – Wired Cake), 2005 C-print, 102 x 76 cm Photo: A.L. Steiner 110_119_Spike50_P_Wampler.indd 112 11.12.16 11:48 Portrait Unter der Lawine des Ontological-Hysteric Theater war; und sah ihr zu, wie sie 2005 die Malereien für Sarah Michelsons Tanzperformances „Daylight (for Minneapolis)“ und „Love is Everything“ Den Kritiker Bruce Hainley verbindet machte. Gemeinsam dachten wir über Liza Minnelli und eine lange Freundschaft mit der amerika- Sturtevant nach, und auch heute noch führen wir so oft wie nischen Performancekünstlerin Claude möglich Gespräche. Claudes Solo-Interventionen, ob „live“ oder im Video, in Wampler. Hier führen sie ein Gespräch der Malerei oder der Fotografie, sind für mich seit über fünf- über das künstlerische Arbeiten mit der unddreißig Jahren der Maßstab für ästhetische Genauigkeit eigenen Familie, die immer noch zu und unter Frivolitäten verborgene Intelligenz. Auch wenn ich als Dramaturg für Claude am Kaaitheater in Brüssel und ei- wenig bekannte Sängerin Tally Brown ner feierlichen Prozession im Tanzquartier Wien arbeitete, und den wiederaufkeimenden Rassismus genieße ich es immer noch, sie unter Hochspannung perfor- gegen Schwarze in den USA. men zu sehen, wie zuletzt bei „The B-Side of Influence: Billy Squier and Butoh“, die als stiller Vortrag begann (sie stand mit dem Rücken zum Publikum) und dann plötzlich in wil- D Ich kenne Claude Wampler seit der High School, wo wir für den Headbanging-Rock ausbrach – ihr pointierter Beitrag zu „The Two Gentlemen of Verona“ – einem Rockmusical nach der 2015 von Sohrab Mohebbi bei REDCAT kuratierten Ver- Shakespeare – gemeinsam auf der Bühne standen. Im Duett anstaltungsreihe „Hotel Theory“. übertraf meine Falsettstimme beinahe ihre höchsten Töne Als Spike mich fragte, ob ich irgendetwas zur Familie zu und bald waren wir beste Freunde, Verbündete und Mitver- sagen hätte, war mir sofort klar, mit wem ich sprechen wollte. schwörer gegen die sich ausbreitende Langeweile. Claude Eine von Claudes besten Arbeiten ist „PERFORMANCE machte mich mit dem brillanten Wahnsinn des Drag-Perfor- (career ender)“ (2006–10), wo der beängstigend schöne John mers Ethyl Eichelberger bekannt und schließlich mit ihm Carpenter die Hauptrolle spielt. Im Stück geht es nicht nur selbst. Ich sah, wie gut sie in einem Richard-Foreman-Stück um das Üben und das Können, die nötig sind, um auf der The Familiar Avalanche own in a Richard Foreman piece at the want to be in discussion. One of Ontological-Hysteric Theater and Claude’s finest pieces is called PER- watched her design and construct the FORMANCE (career ender) (2006–10), The critic Bruce Hainley paintings Sarah Michelson used in which starred that daunting beauty, and the performance 2005 for Daylight (for Minneapolis) and John Carpenter, and interrogated not Love is Everything. We’ve studied Liza only the repetitions and skill that go artist Claude Wampler Minnelli and Sturtevant together, and into creating a “hit” on stage but also have been friends for a our conversations continue as often as the performative role of being in an long time. Here, they talk we can manage. audience. Here, we cruise family dra- about making art with Claude’s solo interventions, ma and critical occlusion, knowing whether “live” or on video, in painting that every performance – and don’t one’s own family, the still or photography, have remained touch- kid yourself: talking publicly plays its too little known singer stones for me for over thirty-five years part in the performative management Tally Brown and the per- in gauging aesthetic precision and not- of recognition – achieves most when it ing the keen intelligence often hidden chances ending everything artistic. sistence of anti-black ra- amidst frivolity. Although I was the cism in the United States. dramaturg for Claude’s works at the Kaaitheater in Brussels and for a glori- Bruce Hainley: In Ruben Östlund’s ous procession at the Tanzquartier film Force Majeure (2014), every- E I first met Claude Wampler in high Wien, I relish watching her at fever thing seems to be fine, until an school, on stage in a production of pitch, most recently in The B-Side of In- avalanche crashes into the ski Two Gentlemen of Verona – the rock mu- fluence: Billy Squier and Butoh, which resort’s restaurant deck, where the sical based on Shakespeare’s play. My started as a poised, silent lecture (the family at the center of the film – falsetto almost bested her highest lecturer’s back to the audience), then mother, father, brother, sister – notes in a duet, and we were soon best suddenly broke into head-banging are having lunch, early in their ski friends, allies, and co-conspirators rock – her pointed contribution to vacation in the French Alps. Both against rampant tedium. Claude intro- “Hotel Theory”, curated by Sohrab actual and allegorical, the “cont- duced me to the crucial, brilliant may- Mohebbi at REDCAT in 2015. rolled” avalanche is a catalyst for hem of the drag performer Ethyl When Spike inquired if I had any- psychic and emotional things go- Eichelberger, and eventually to the thing to say about the family, it was ing downhill rapidly, not only man herself. I’ve seen Claude hold her immediately clear with whom I would between the husband and wife but 113 110_119_Spike50_P_Wampler.indd 113 11.12.16 11:48 Portrait D Bühne einen „Hit“ zu landen, sondern auch um die perfor- dersten Genres in der Performance. Thema sind Überleben mative Funktion der Zuschauer. und Erfolg der Kinder, der Text/die Choreografie kommt aus Hier streifen wir durch Familiendramen und die Sackgas- Erinnerungen an extreme Dysfunktionalitäten, aus der sen der Kritik, mit dem Wissen, dass Performance – und ma- Nachahmung extremer Dysfunktionalitäten in der eigenen chen wir uns nichts vor, öffentliches Sprechen spielt eine Umgebung und einer unglaublichen Menge quatschiger, wichtige Rolle in der Inszenierung von Anerkennung – im- selbsthilfemäßiger, oft widersprüchlicher Strategien zur Be- mer dann am meisten bewirkt, wenn sie riskiert, alles Künst- wältigung dieser unvermeidlichen extremen Dysfunktionali- lerische hinter sich zu lassen. täten. Impro-Regel Nummer eins: Sag Ja! Dazu braucht es begeis- terte Zustimmung: eine unkritische (stumpfe) Bereitschaft, Bruce Hainley: In Ruben Östlunds Film „Höhere Ge- sich mit den Voraussetzungen abzufinden. Anhedonie setzt walt“ (2014) scheint die Welt ganz in Ordnung zu sein, bis zu viel voraus: Sie setzt voraus, dass eine Mutter beim Spielen plötzlich eine Lawine auf das Restaurantdeck eines Ski- mit ihrem Baby Freude empfindet; dass ein Fußballfan glück- orts zustürzt, wo gerade eine Familie – Mutter, Vater, lich ist, wenn sein Verein gewinnt; dass trübsinnige Teenager Bruder, Schwester – zu Beginn ihrer Skiferien in den zufrieden sind, wenn sie die Führerscheinprüfung schaffen. französischen Alpen zu Mittag isst. Im buchstäblichen Für eine empfindungslose Reaktion muss man sämtliche Nor- wie im allegorischen Sinn wirkt die Lawine als Katalysa- mative übernehmen – aber das ist nun mal das Drehbuch, von tor, durch den es mit allem Psychischen und Emotionalen dem alle zwangsweise abweichen. Leichte Abweichung mit schnell bergab geht. Nicht nur zwischen dem Mann und gesicherter Rückkehr zum Thema, das ist gute Impro. Totale der Frau, sondern auch zwischen der Familie und allem, Abweichung unter Ablehnung des Themas, das ist gute was sie innerlich und äußerlich mit ihren erotischen und Kunst. anhedonischen Spannungen ausmacht. Man sollte Östlunds „Höhere Gewalt“ auf dem TV-Kanal Claude Wampler: Die Familie ist ein Ort der Performance. Sie National Geographic zwischen „Wie menschlich bist Du“? ist der Ort des endlosen Theaters („Theatersport“) und der und „Im Königreich der Affen“ ausstrahlen. Was für ein Kontaktimprovisation – der beiden schlimmsten und nie- großartiger Naturfilm: draußen eine künstliche „natürliche“ C L AU DE WA M PL E R , geboren 1966 in Pennsylvania. Lebt in New York and Charlottesville, Virginia. AUSSTELLUNGEN: „Hotel Theory“, REDCAT, Los Angeles; „Trailing Spouse“, University of Virginia Ruffin Gallery, Charlottesville (solo) (2015); „Made in LA“, Hammer Museum, Los Angeles (2014); „N’as pas un gramme de charisme.“, The Kitchen, New York (2013); „Mindaugas Talent Show!“, Contemporary Art Centre, Vilnius (2012); Taipei Biennial (2010); Yokohama Triennale (2008). E also between the family and eve- wins; a mopey teenager feels pleasure un gramme de charisme (2013), and in rything that constitutes them, from passing his driving test. For an a riveting and key early work, “within” and “without”, erotic as anhedonic response, you have to com- Jumbo Shrimp (1998), you chan- well as anhedonic tensions. pletely buy into all the normatives – neled aspects of your mother. Claude Wampler: The family is a perfor- but that’s the script that everyone is What does the doubling or repeti-
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