Cheap Xenical online, Tehching Hsieh, One Year Performance 1978–1979 (Cage Piece)
I remember attending a few of the Marina Abromovic performances at the Guggenheim museum a few years ago and being floored by the kind of commitment she was making to her art. Of course the actual performances were completely intense and impressive, but I was most taken by the dedication and perseverance it took to complete the tasks she set for herself, Xenical no prescription.
MoMA recently launched Performance 1: Tehching Hsieh, Köpa rabatterade Xenical, the inaugural installation in an ongoing series that will explore the history of performance art.
Beginning to make his performance work in the late 70's at around the same time as Abramović, Tehching Hsieh stretched the limits of time and performance based work, Oregon OR Ore. .
Having never heard of Hsieh before, Order Xenical online without prescription, I walked out of the exhibition completely stunned. I can't ever remember seeing something so basic and simple in it's conception and yet beyond profound in it's execution, duration and bravery, cheap Xenical online.
From 1978 to 1986, Hsieh committed himself to performing a series of five One Year Performances, farmacia Xenical baratos, each one more grueling than the next. Tennessee TN Tenn. , For the first in the series, Cage Piece executed in 1978-79, the artist spent a year locked up in a cage like prison cell that was built into his artist studio located in Tribeca, Pennsylvania PA Penn. . During that time he did absolutely nothing: no reading, Osta Xenical online, writing, or talking was allowed and there was no television or radio. The cell was furnished with a bed, Florida FL Fla. , a blanket, District of Columbia DC D.C. , a sink and a pail (for refuse). Cheap Xenical online, On 18 individual days throughout the year, his studio was opened to the public and people could visit to view the performance in progress. For the rest of the year he sat there alone with himself and with his thoughts.
A friend was contracted to deliver food and remove his waste each day, buy Xenical. That same friend also took Hsieh's portrait and documented how his appearance slowly changed over time since Hsieh shaved his head at the beginning of the project. Cheap Xenical online cheap, The entire performance was supervised and certified by Hseih's lawyer who locked and unlocked the cage at the beginning and at the end.
In the exhibition gallery, the black and white portraits of Hsieh are hung in an endless continuous line (minus 10 or so that were damaged in the chemical development process), cheap Xenical online. In a darkly lit room to the side, the actual cage has been installed, generic Xenical. The cage carries with it a heavy air and an immediate sense of claustrophobia. Order Xenical from canada, I can't imagine being locked up in there for even a day let alone an entire year.
The other performances in the series of One Year Performances are as follows:
1980–1981, Time Clock Piece: Hsieh punched a time clock every hour on the hour for one year, Texas TX Tex. . Cheap Xenical online, A photograph was taken at each punch of the time clock and together it made up a 6 minute movie.
1981–1982, Billige Xenical apotek, Outdoor Piece: Hsieh spent one year outside. He did not enter any buildings, shelters, köpa Xenical, cars, Osta Xenical, trains, airplanes, boats, ordering Xenical from canada, or tents. Connecticut CT Conn. , He slept around New York City in nothing more than a sleeping bag.
1983–1984, Rope Piece, where to buy Xenical, collaboration with Linda Montano: Hseih spent the year tied to another artist (Montano) by an 8 foot long rope. They had to be in the same room at all times and were not allowed to touch each other, cheap Xenical online. Wisconsin WI Wis. , 1985–1986, No Art Piece: For the final performance in the series, Hsieh made no art, cheapest Xenical online, and avoided doing anything related to art. Cheap Xenical online legally, He reading nothing, saw nothing and did not enter any museums or galleries.
Beginning in 1986, cheapest Xenical prices, Hsieh embarked on what would be his final performance piece, Thirteen Year Plan, which was completed in 1999.
In an interview in The Brooklyn Rail, Hsieh discussed the duration of his works:
"Because one year is the largest single unit of how we count time. Cheap Xenical online, It takes the earth a year to move around the sun. Three years, four years is something else. It is about being human, how we explain time, how we measure our existence. A century is another mark, which is how the last piece was created."
I have no idea what Hsieh is doing with himself these days, but through the confounding prism of his work our everyday experience of time and the immense weight of everyday life has been completely and dramatically changed.
Performance 1: Tehching Hsieh is on view through May 18, 2009.
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He’s been one of my absolute favorites for some time. I’m fairly sure that the last time I looked into it he had said he was done with art (though it seems like he meant done with the kind of art he is known for.. it’s hard to say you are done producing anything)
I’m sorry, but my first thought of this artist (who I’ve never heard of before) is that he’s just insane. For his first performance, “Jump Piece”, Tehching Hsieh broke both of his ankles. Why? Why on Earth would anyone do that? What is there to prove, I’ve never understood, what, that you can be more extreme than any other artist out there? Anyways… I have to give him credit though, for all of that dedication in his five One Year Performance pieces, where he sleeps in a sleeping bag, or stays in a cell. I wonder if it’s to prove that maybe, in the harshest times, if you can focus enough and keep yourself together, you won’t absolutely lose it.
I don’t know if I’m qualified to debate sanity, but when Hsieh was working there absolutely was a lot to prove – the definitions of art and expression have been rapidly expanded since his time, due in large parts to the labors of him and his contemporaries.
@Ashley: I wasn’t aware of Jump Piece before someone mentioned it to me today, so there is a serious limit on what I can say about it, beyond that, firstly, it refers to http://is.gd/25dQL, a (faked) image created by Yves Klein which has a hugely important place in 20th century art history; and secondly, that Hsieh does not consider this piece to be a mature work. Personally I think that, putting aside human concerns for the wellbeing of the artist, the risk involved in a work of art must not exceed the importance of that work. When it does, it suggests vanity, desperation or muddled thinking and this in itself confuses the work even further. The One Year Performances on the other hand, although immensely demanding both physically and psychologically, involved a lower degree of risk. They are masterpieces, that are constantly at the back of many artists minds as they wrestle with the task of producing their own work. If we are to talk in terms of the signal-to-noise ratio, which is arguably the ultimate criterion for determining what is or isn’t good art, too much risk is noise. The One Year Performances on the other hand are remarkably clear.
You say “I wonder if it’s to prove that maybe, in the harshest times, if you can focus enough and keep yourself together, you won’t absolutely lose it.”
In effect you are saying that maybe he Hsieh produced the One Year Performances in order to show us what it was like. I would argue (I’m not saying this is my own idea btw) that the reason for choosing such a long period of time (the year is the longest naturally occurring unit of time) is because what happens during that length of time is beyond imagination or knowledge. You might know fragments. You might even meet somebody who went to the toilet one day at the same time as Tehching Hsieh and Linda Montano, and can report word for word what they said to each other. But you will never be able to grasp the grand ensemble of all the experiences they shared together going to the toilet several times a day during that year, let alone all the other experiences they had together, or how it was different for one than for the other. In other words, Hsieh has created works that are beyond representation, that cannot be consumed or repackaged, that are brutally simple and cold in their design, but, literally, full of life; unknowable, unaccountable life.