At the edge and mainstream of the “trigger” of the new museum.


It happens that you meet someone for a short time and then tell yourself ometimes, “I want to know, people are better.” Usually, though, it doesn’t happen. Maybe you’re too shy to keep up. Or the person just inexplicably disappeared from the scene. Something similar might happen on a less intimate level: you read a person who triggers your imagination, and you think of yourself, “I have to find out more.” But maybe your research has led to a dead end. Or, more likely, you’re distracted by something else. Your resolution has failed and you regret it.

In 2015, when the Whitney museum in Manhattan, meat processing, when opening a new building in the first exhibition attracted my imagination is one of the works of Hans huck’s notorious works with the concept of sand belsky (Shapolsky) and so on. Manhattan real estate holdings inc., a real-time social system, as of May 1, 1971. When this collection of photos and text originally to show out the guggenheim museum exhibition, and fired its curators, claimed that more than 100 slum file of ownership of property and they can’t art. After Whitney’s work, I went to see some of the buildings that huck had photographed. Some of the people I lived in at the time were missing, and some of them had changed with gentrification; Several seem to be similar to what they were in 1971.

I’m curious about what Haacke has proposed from his documentary project: the life behind these curtain walls. Who lives there? What is their life like? When huck did the work, it seemed self-evident that the slums that owned these buildings were ruthless exploiters of poor tenants. But the subsequent expansion of neighbourhoods is unlikely to significantly improve the housing conditions of renters, or their children.

Unfortunately, when I was ready to respond to Whitney performance, I have not found the ownership of the balls he traced back to the sand base organization of individual residents, but I really found some surprising things. Here’s a message from 1972: “street gang members are meeting at 6pm on Martha Johnson street, 211 eldridge street, New York. 3. For information, please write: STAR, c/o Marsha Johnson, the same address. To the power of all the people! “I especially like the famous slogan on the final twist: unlike” panthers once declared that “all of the people’s power”, it seems to think of people as a whole, but rather “the people”, admitted the people rather than a more.

I want to know who is this Marsha p. Johnson, whose power and people’s ideas are more forward-looking than most people who were in circulation at the time? One thing I found out was that she was an activist on the stage in the city center, and she was involved in the great uprising of the stonewall inn in 1969; She died in mysterious circumstances in 1992, when she was 46. Her death was initially declared a suicide, but the cause became “indeterminate”. This is where I look.There is more information, but I have other work to do, there will be other studies need to follow up. Johnson slipped in my mind, attach a note: “I want to learn more about her.

The large size I uckily, I again find Johnson museum of contemporary art of the new “trigger: gender as a tool and weapon” in there, she is not only the indirect induced in the streets transvestites in 1973 (2015), a flag of painting on Tuesday, smiley manufacturing with “beads, buttons and diamond” to describe Johnson group in 1973 Christopher street liberation day parade in standard, and directly represent high Rene saite and sasha wahl he short film “lost in the music” (2017). Johnson was teased by Mya Taylor, who was introduced as “the saint of Christopher street” in the film, but later, on stage, recited a poem she seemed to reject:

If I want to be a saint,

I will die for our SINS,

Honey, I’m going to be a zombie.


If I want to be a saint,

I will turn my sisters into a saint. I will.

Become a loyal law.

Not the queen in the park.

Johnson’s inspiring defiance, due to melancholy – the boredom of the struggle, and the sense of the cruelty of existence. Then the death of the Hudson River was the last sign:

I’m not saying it’s easy.

Shining, loving, spinning.

I’m not saying it won’t hurt.

Wake up in this world.

But rivers flow.

The water is cold, deep and blue.

The film clipped briefly and found the real Martha Johnson, somehow stronger, tougher and more serious than Taylor’s. That emphasize the gap between the performers and subject, or rather, Taylor, Johnson and Johnson, the gap between the performance of more strongly highlights behind even the most confident self-expression.

The obvious exposed if the film is about “awakened pain” in this world, so there is a more subtle hints, is this kind of awakening is not found on the right side of the law, but broke the cycle of day and night, and night life of common people in the park business, rather than behind closed doors. If there is any truth to it, then we have to wonder, as Taylor Johnson saw us directly from video: how can we be in the art museum?


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