Category Archives: Gender

Sophie Calle, Suite Vénitienne (1980)

“At the end of January 1980, on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd. That very evening, quite by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice. I decided to follow him.” – Sophie Calle

photos of a man walking away from the viewer in the city

“Sophie Calle’s urban expeditions might be thought to recall Vito Acconci’s seminal performance work ‘Following’, made a decade earlier in which he tailed strangers chosen at random without their knowledge, up until they left public space for their homes or offices. In Calle’s work however, the relationship between the artist and their public is different. This is not merely because the expected gender roles, where men act as predators and women are vulnerable, are inverted. The artist’s motivations are unknowable, her ultimate goals opaque, and her behavior seemingly contradictory.

If we might imagine Acconci’s role implies that he is dangerous – is a stalker or assailant – Calle’s activities imply she is a kind of private detective or spy in pursuit of knowing more about a person than they do themselves. The presentation of her works as a kind of diary is intentionally alarming. We are meant to feel both a distance from her or repugnance at her behavior and, despite this, a simultaneous sympathy for or intimacy with her. Unlike a normal detective story, Calle’s work leaves us with both ‘who’ and ‘why’ left unresolved.” [credit]

photos and text installed in a gallery in a long line

“She met a man, Henri B., at a party. He said he was moving to Venice, so she moved to Venice and there, she began to follow him. Suite Vénitienne was the resulting book, first published in 1979 …Calle documents her attempts to follow her subject. She phoned hundreds of hotels, even visited the police station, to find out where he was staying, and persuaded a woman who lived opposite to let her photograph him from her window. Her photographs show the back of a raincoated man as he travels through the winding Venetian streets, a surreal and striking backdrop to her internalised mission. The very beauty of her surroundings has a filmic quality, intensifying the thriller-esque narrative of her project. Sometimes her means of following Henri B. are methodical – enlisting Venetian friends to make a phone call on her behalf – and sometimes arbitrary – following a delivery boy to see if he will lead her to him.” [credit]

Credit: //www.mersytzimopoulou.com/blog/2018/11/28/sophie-calle-suite-vnitienne-1979

Teresa Murak, Procession (1974)

Teresa Murak, Procession (1974)

“In the very early spring of 1974, the artist put on herself a cress seeds coat grown earlier (the working method being a reference to the tradition of handiwork and “female labor”), and set out on a Procession through the streets of Warsaw, thus introducing the figure of Mother Nature into a realm specifically belonging to culture. This gesture, primarily referring to the relationship between the feminine and the natural being—also a main focus essential to feminism, albeit differently—present in corporal feminism, was at the same time a political one, an intervention in urban space which manifested a sensitivity extremely different to that officially valid in the People’s Republic of Poland.

The cress seed, a small fast-growing plant with a distinctive smell, became Teresa Murak’s trademark. Co-existing with the artist, in most cases the plant becomes the subject of her examination and the object of care while her art practice connected with the seeds is based on the idea of co-existence.

The action was documented on photos as well as oral history.” [credit]

Rosemarie Castoro, “Gates of Troy” (1969)

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Rosemarie Castoro, Gates of Troy (1969)

Castoro walks and drags a roll of aluminum through the streets of SoHo. The unfurling and dragging of metal recollects the parading of Hector’s corpse behind Achillles’ chariot, with Castoro cast as a vengeful Achilles. She is protesting the difficulty of being a woman in an art-world dominated by men.

Kate Gilmore, “Walk the Walk” (2010)

women walking in yellow dresses on a yellow structure

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Like the mazes of office cubicles in so many of the buildings that surround Bryant Park, Walk the Walk comes to life over the course of a working day.

From Monday to Friday, Kate Gilmore’s performance-installation creates a spectacle of color, movement and sound from 8:30am to 6:30pm. Gilmore (b.1975, Washington, D.C.) presents a cubic structure, open on all sides, with a flat roof that functions as a podium. Working in shifts, groups of women take to the roof where they perform an improvisational choreography of everyday movement, such as walking, shuffling, and stomping. Neither professional dancers nor theatrical performers, Gilmore’s participants resemble a random sample of female office workers. They vary in age, race, and body type. Free to perform their artist-assigned task as they choose, they must nevertheless conform to a strict uniform of yellow dresses and beige shoes.

Members of the public are invited to observe the piece from the surrounding Fountain Terrace, but also to enter the open structure. The yellow theme of the women’s dresses continues on both the exterior and interior walls of the structure. Once inside, visitors may hear the reverberating sounds of the movement overhead. In this eccentric concerto of irregular footfalls, the physicality of Gilmore’s performance is experienced anew.

Kate Gilmore is best known for her physically demanding performance videos in which she is typically the sole protagonist. Walk the Walk is Gilmore’s first live public project and also her first to deploy other participants. Her interest in striking and often incongruous images continues in this piece, with its unexpected transformation of architecture, figures, actions, and location. In this way, the artist makes us aware of our assumptions about the codes of appropriate behavior and the limits of self expression. How do the attributes of gender, age, and appearance shape our perception of both social roles and personal desires? In Walk the Walk, Gilmore literally and metaphorically turns the inside out, inviting us into a world at once all too familiar and strangely provocative.

Rut Blees Luxemburg, “Chance Encounters” (1995)

In the series, Blees Luxemburg photographed herself and another woman as they approached strangers in London’s Square Mile. The photos could be said to create a pattern of behaviors of people who inhabit in this urban landscape.

Her “Chance Encounters” are by no means actual chance encounters. Luxemburg spends a long time with the landscape itself before she snapped every photo. She is patient with her production, resulting in merely more than 20 photos per year[2]. She put a lot of conscious thought into every single shot because she wants her photos to tell stories and generate possibilities of profound thoughts. She wants her audience to think about what may have happened behind the subjects of these photos. In a way, we can say that they tell stories of the habitat without involving the inhabitants.

Another theme of her photography is the beauty of the unexpected. She loves to visit marginalized spaces in the city where we don’t usually consider appealing. She described herself as a Flaneuse while working on Chance Encounters. She wandered in the city and observed for serendipity. These moments come from the ignored part of our life but it reflects so much of our life.

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Flânerie (To be a Flâneur/Flâneuse)

Paul Gavarni, Le Flâneur, 1842

The ‘Flâneur’/‘Flâneuse’ (‘roamer’ or ‘wanderer’) is a person who strolls the city in order to experience it, as a detached, gently cynical observer. (credit) There is an idleness attached to flânerie. The flâneur is a passive figure, they observe the dynamics of the city from a disengaged point of view. While the idea originated with Charles Baudelaire, it was Walter Benjamin who popularized it and connected it to the idea of escaping capitalist control. Benjamin helped define the flâneur as an observant solitary man perusing the city of Paris. Sometimes also referred to as a “dandy.” According to Merlin Coverley, the flâneur “is more playful for a start, it is also purely aesthetic, there is nothing revolutionary in its design, it doesn’t take itself too seriously in the sense of a political agenda.” [credit]

The Surrealist version of the flâneur was to devise experiments involving randomness and chance in order to experience the city without being blinded by mundanity. (credit) For example, follow interesting strangers across the city, or visit a city while guiding oneself using the map of another city, or draw a circle on a map and try to walk as accurately as possible along the circumference.

Similar in some ways to Guy Debord’s dérive later on, both flânerie and the dérive describe a figure seeking new experience and insight by defying the commercial logic of the modern city. (credit: The Art of Walking: A Field Guide, 2012). However the flâneur privileges the street over the studio, and treats walking as an aid to achieving the avant-garde dream of merging art and everyday life. (credit: The Art of Walking: A Field Guide, 2012) Debord explicitly takes position against letting chance take a too important role in a dérive, because ‘the action of chance is naturally conservative and in a new setting tends to reduce everything to habit or to an alternation between a limited number of variants. Progress means breaking through fields where chance holds sway by creating new conditions more favourable to our purposes.’ (credit)

Exercises:

Flaneur exercise

Resources:

Blog post comparing flânerie to dérive

Martin Kersels, Tripping (1995)

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As a large man, Kersels often makes work dealing with his imposing physical presence. He examines stereotypes associated with his gendered body size: clumsy, pathetic, dangerous. These staged photos play into those stereotypes about awkwardness, while the precision of the staging can be interpreted to contradict this reading. (credit: Walk Ways catalog)

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“Martin Kersels is much larger than most people. He was once described as a “man-mountain” by his friend and colleague Leslie Dick. As a man who stands 6’7” tall and weighs 300 pounds, Kersels draws attention to his body, its size, and the things he’s able to do with it. …

Physicality permeates Kersels’ work. He uses himself as a subject for expressing the emotions we share by virtue of being corporeal. One of these emotions is vulnerability, which Kersels exposes in photographic series that capture him tripping, falling, and riding a bicycle that is too small for his frame. As people, we share embarrassment at the thought of falling in public or in watching someone else trip. However, Kersels’ Tripping series shows us just the thing that embarrasses us. The artist photographed himself tripping on public sidewalks in populated areas and in broad daylight. Tripping highlights Kersels’ desire to connect to others by exposing himself in an embarrassing, although staged, moment. …

Established themes of vulnerability, the body, humor, and playfulness create a thread of continuity among his photographic and sculptural works. …

About the Artist:

Martin Kersels was born in Los Angeles, California in 1960. He began his undergraduate degree in 1978 at the University of California, Los Angeles. After applying to film school and not being accepted, Kersels decided to pursue art history. Kersels then took studio art courses after he decided that art history was not for him; he thought he was a ‘horrible writer.’ He received his bachelors degree in art from UCLA in 1984. After he graduated, he became a member of a neo-dadaist performance art group called SHRIMPS.

Kersels described his performance work with SHRIMPS as movement-based, using very few words and a high level of slapstick comedy, based on the fallibility of the body. Others describe SHRIMPS as a group known for their bizarre costumes and lumbering movements. The women in SHRIMPS were small and muscular and the men were all 6’7” or taller. The first series of SHRIMPS performances were about redefining views of big men being unkind or threatening. The performer Weba Garretson, who later worked with SHRIMPS, described meeting the group by saying, “I was scared of them, even though they seemed like such nice people.” When funding for performance-based art work began to disappear in the late 1980s and early 1990s, Kersels decided to go back to school. In 1993, Kersels was accepted to graduate school at UCLA, where he concentrated on integrating his performance work with the human body with object making.

Kersels received his Master of Fine Arts degree from UCLA in 1995. When Kersels helped the artist Paul McCarthy videotape his performance work, it helped change Kersels’ perspective about making interdisciplinary art. Kersels served as co-director of California Institute of the Arts (CalArts) Program in Art from 1999 until moving to the Yale School of Art in 2012, where he became Associate Professor and Director of Graduate Studies in Sculpture. Kersels has exhibited his work in major exhibitions including the 1997 Whitney Biennial, as well as in many solo exhibitions.” (credit)

Eleanor Antin “100 Boots” (1971-73)

These photographs of staged boots were printed as 51 postcards. Viewers can read these works knowing they were influenced by the Vietnam War and ideas of protesting, parading, trespassing, and communing with nature. The images start and California and end as the boots march into the Museum of Modern Art.

Nancy Spero “Vietnamese Women” (1985)

Nancy Spero

This is a large hand-printed and painted work that is so long it cannot be taken in without walking along it.

The subject matter is an image of a Vietnamese woman fleeing the massacre of civilians in 1968, taken from the news. Spero states the cigarette in the woman’s mouth is a symbol of survival.

(credit: Walk Ways catalog)

Janine Antoni and Paul Ramirez Jonas “Migration” (2000)

Janine Antoni and Paul Ramirez Jonas, Migration (1999)

[CREDIT]

2 channel video playing on two monitors side by side, 58:03 minute loop, Dimensions variable

Migration is a collaboration between Janine Antoni and Paul Ramirez Jonas. Playing the childhood game of Follow the Leader on a beach, the artists videotaped each other from behind as the follower records the leader. The videos simultaneously play out on two monitors turned on their side. The monitors’ proximity fuses the two perspectives into one walk. As the pursuer’s foot alters or erases the pursued’s footprint, it appears to step into the next monitor.

Having traveled far from their home countries, the artists depict their movements as a series of steps where, at different times, one partner leads and the other follows. The actions within Migration speak to the dynamic and continuous negotiations that happen within a relationship.