[guest post by Dana]
Last night while at a small dinner party, I was introduced to an art history professor who is also the director of a center on campus devoted to art and faith and the intersection therein. He was an unpretentious and charming conversationalist, and we had a lively discussion about the relationship of artist and viewer, and the unique form of communication art is. Whether the intended thought or message is actually received by the viewer, or whether they give a dismissive glance and move on, a response has been elicited. Mission accomplished, I guess.
So, it was a bit coincidental that upon getting home last night, I found that performance art is in the news this week. Not being a fan of that particular brand of art, I was nonetheless drawn in by the introductory statement, which was bizarrely compelling in its insufferable arrogance and delusions of relevance. It took crazy to a whole new level. A mesmerizing train wreck: I just couldn’t look away. And then I had to watch the performance, if only to have my reaction confirmed. First the statement: A Milo Moiré Performance @ The Opening of Art Cologne.
An upright standing nude on a loft… One with ink and acrylic fueled egg… A preserved canvas…
What the spectators are about to expect, is the compressed birth of a piece of art.
Slowly the egg leaves the natal canal of the artist and smashes on the canvas, red colour flows out. The next egg contains another colour and so bit by bit, accompanied only by loud “Plops”, an abstract art work originates — archaically, uncontrollably and intuitively. At the end of this almost meditative art birth performance the stained canvas is folded up, smoothed and unfolded to a symmetrically reflected picture, astonishingly coloured and full of strong because universal symbolism.
The “PlopEgg Painting” itself releases a loose chain of thoughts — about the creation fear, the symbolic strength of the casual and the creative power of the femininity. A comparison to wild associations arises and by the intensity of the seen and experienced, one becomes clear: the art needs like so often the corporeity to be able to manifest itself.
Milo Moire’s performances start with daydreaming, with (every)daily, personal physical experiences which condense by wild associations to an internal whole piece of art about to mature and enter the world. The corporeity becomes the need for her artistic expression to make the happened – also for the spectator – experienceable. Milo Moire describes her art, as an „art led by intuition. To create art, I use THE original source of the femininity — my vagina”.
Milo Moire opens her performance cycle “The PlopEgg Painting Performance # 1 – A Birth of a Picture” on the famous art fair Art Cologne — a place at which the art gets involved in the flirtation with big figures. The hashtag 1 stands for the first Art-Birth-Picture. Other performances should follow worldwide.
Within the context of art (performance), commerce (art fair) and opinion creation (media) a deliberate-accidental creation act happens, which instantly provokes ambivalent interpretations. “In my art i try to create mental doors”, the artist says. And there is always at least one door left to pass through a mirror.
With that, I can only say as I typically do when confronted by something so mind-bogglng, my gender and our modern culture is in worse shape than I thought.
The Guardian puts it in its place,
And yet it’s not a strong statement at all. It is absurd, gratuitous, trite and desperate. Anywhere but an art gathering, this would be regarded as a satire on modern cultural emptiness.
So once again, in an insatiable quest for relevance, women are compelled to confirm the desperation of the gender. It’s all become boringly pedestrian. And I’m not sure if that is a good thing or not.
Video below. NSFW.
UPDATE BY PATTERICO: I think maybe we’ll just give you the link instead. Now, if you want to watch it after the above description, that’s on you.