SIMONE FORTI : how to position yourself in the world, with grace

Free Consultation — Chicago, January 30, 2016

“I’m trying to find the relationship to my dance and the world.” Simone Forti 1989

Stills from Video: Jason Underhill

 

 

From Simone Forti’s notes written in Vermont, in the spring 1989:

David Bradshaw came to visit me a few evenings ago. We were talking about the phenomenon of development and damage to environment. He said, “people are in such a hurry to get symbols of satisfaction.” I don’t remember the exact context, but it made sense. It reminds me of my sense about posturing that goes into having certain political attitudes or ‘positions.’ Making choices out of concern for how you are perceived, being hot stuff, liberal, or patriotic, or what have you.

One thing that strikes me in the winter is the sweetness of warm-blooded beings. I sit surrounded by ice and snow, warm in my clothes like a juicy hot plum, a rare thing, knowing that here and there there is a bird, a rabbit in its hole under the snow, warm, juicy, marvelous.

It keeps coming back to me that certain things I am aware of, the national, global things that strike me, frighten me, break my heart, come to me defined by the news. Not homelessness. I see that. But the rest, it’s like a body of information that comes to me and makes me shout “Don’t you see?” And I do believe that media gives a kind of reflection of the world. The world. Gives me images that seem solid.

Issues are named. In a way they are names. They are constructed of experiences. They come to me as the digestion of many stories. They identify the tide of a problem. But it’s hard to say what you mean with grace. By grace, I mean the way thoughts and perceptions really go. A maze of juxtapositions of sense and nonsense, pulling towards meaning.

What I am learning, I am learning slowly. My previous living gives me no way to name it. Of the things I expect to name, I see only traces. That which I see, I have no names for.

 

When she performs, Simone moves sending out into the air, sometimes, stories and names, or songs, that are told by her entire body. Powerful as well as invisible, the world goes through her mind like the birds’ voice in the morning, or the river flush of the freeway through the city.
I first thought that her own words from 1989 were more than eloquent company for the images of Free Consultation, her performance by the lake in Chicago. But then, because my previous living gave me the pleasure of reading, through words and grammar, the imaginary visions of brilliant, dead people,  I’m challenged even more by living friends. And Simone is not less alive than the the yellow butterfly I see every day dancing among the yellow flowers of a bush in my garden. Her immersion in the world tunes her feelings without turning out the lights of her thinking body.

A few years ago I went with Simone for a walk in Will Rogers Park. I think it was in June. The delicate undulating of the new grass grabbed our attention, but at a certain moment we stopped seeing it. “That which I see, I have no names for.” We were in a corral, no horses around. Yet we were seeing horses running, and listening to their high-pitched neighs. We were just standing still in the middle of a vibrating place, absorbing smells and hints, those dispersed by the wind. That was also what we call world. It’s constant transformation, natural power and beauty often mistaken for entertainment. How she is perceived, nature doesn’t care.

As for Simone, she likes to speak with her dead. Once more, she follows invisible threads of a natural history. Her dead father, now under the surface of the Westwood ground. She tells him, “You were in a military prison, right? Watching how the flies cleaned their front paws and then their back paws.” She says these conversations help her clean her mind. I also talk to my dead people, my Neapolitan blood. Maybe they increase my confusion, the sense of how much I don’t know about them, but they also make me aware that my life is much easier than the one they had. I even have time for writing and publishing, the least productive of all activities. “As long as you are free, says my grandmother Rosa, and she offers to me a handful of pastina.”

JUDY FISKIN : Photography is a mental thing

“Imagination applied to the whole world is vapid in comparison to imagination applied to a detail.” Wallace Stevens

JUDY FISKIN, From New Architecture 1988 Plate 234 Courtesy of the artist

“The mind is the most terrible force in the world principally in this that it is the only force that can defend us against itself. The modern world is based on this pensée.” Wallace Stevens

JUDY FISKIN, From New Architecture 1988 Plate 242 Courtesy of the artist

UNTITLED  by Rosanna Albertini

Each little house is a song of solitude. A body opening limbs in a space where the distance between the sky and the ground has been reduced to zero: a flat, white empty space. They would float like islands. A scrawny bush, a pole, or little trees sometimes shaped by an odd haircut are ornaments in the wrong place, a complement to the odd shape of the houses.

“I am more interested in creating an experience than in summarizing experience.”JF
“The most interesting part is looking at this little universe of representation that I can make out of the world.” JF

It’s not the maternal opening of doors and windows of people’s homes that makes the artist happy. Each print gives the houses a face, the front of a building that seem to say the viewer: “True, things are people as they are.” Wallace Stevens, Like Fiskin, isn’t afraid of absurdity.
Am I ridiculous, with my single window and the bricks on my feet? You can say so, it doesn’t touch me. Oh, my forehead is too low, maybe two round eyes, of course closed, make me smarter looking. But I have three legs and two enormous garage doors (?)
Each house is a song of indifference, a self contained score only showing the mask of a secret, not immaculate conception.

JUDY FISKIN, From New Architecture 1988 Plate 233 Courtesy of the artist

JUDY FISKIN, From New Architecture 1988 Plate 235 Courtesy of the artist

jUDY FISKIN, From New Architecture 1988 Plate 240 Courtesy of the artist

“Impenetrable, opaque, obdurate: these are good terms to apply to the work. They all express something about what the world feels like to me.” JF

Through Judy Fiskin’s mind passes, maybe, the temptation to escape architectural codes and history of forms. Her 1988 eyes isolate each house from the landscape. Each house is a detail, almost a cut out, free from aesthetic rules or repetitions of architectural patterns.
See? My windows have curved eyebrows, and they stick out from the roof!
I am, instead, the reminiscence of a stilt house. And I grew like a barn with a vague Chinese flavor of a pagoda roof. I’m better than you, replies another house whose origins are uncertain: big ears and a city look under a hat low enough to evoke a pagoda, but centered in a way that makes more evident the asymmetrical face of the house.
Each house is a chant of styles speaking different languages in the same building.

“Idealized images from my mind.” JF

JUDY FISKIN, From New Architecture 1988 Plate 238 Courtesy of the artist

JUDY FISKIN, From New Architecture 1988 Plate 239 Courtesy of the artist

One house is the queen of flatland, another is so shy she hides behind a tree, the lateral side leaning on a tall chimney. Lady symmetry sits in the body of an urban figure waiting for cars, she has two garage doors. A pale, gray creature seems to be there by mistake, what a romantic mistake!
The high contrast prints reveal a flash of light not only erasing the context around these little houses, also removing all sign of memory, and comparisons to famous buildings. What’s wrong with common life? It’s mostly stifled by an eccessive closeness, to siblings and objects. Really, we need an artist to gently building a distance, and revealing its twisted, uncanny beauty.
Each house, a scream of silence.

OF MERE BEING

The palm at the end of the mind,
Beyond the last thought, rises
In the bronze decor,

A gold-feathered bird
Sings in the palm, without human meaning,
Without human feeling, a foreign song.

You know then that it is not the reason
That makes us happy or unhappy.
The bird sings. Its feathers shine.

The palm stands on the edge of space.
The wind move slowly in the branches.
The bird’s fire-fangled feathers dangle down.

— Wallace Stevens —

JUDY FISKIN, From New Architecture 1988 Plate 245 Courtesy of the artist

JUDY FISKIN, From New Architecture 1988 Plate 249 Courtesy of the artist

Bibliography:

Some Aesthetic Decisions, The Photographs of Judy Fiskin, The J. Paul Getty Museum, Los Angeles, 2011

Wallace Stevens, Opus Posthumous, Edited by Milton J. Bates, Vintage Books, A Division of Random House, Inc. New York, 1990

 

 

 

 

 

 

 

MARISA MERZ : Art is a mental thing

LIGHT AND FLEXIBLE, WITH NAILS

by Rosanna Albertini

MARISA MERZ, Untitled 1993, Copper wire, unfired clay, steel structure. Photo: Hannah Kirby

MARISA MERZ, Untitled 1989. Unfired clay, galvanized metal, glass cup, flowers. Photo: Hannah Kirby

Los Angeles,  Hammer Museum: THE SKY IS A GREAT SPACE   June-August 2017

March – April 1968:
“I do not respect Johnson, I do not respect the masters.
I’m not available anymore because I want to start from scratch.
I could still be available to a child, but not to a man, no.
If a man asks me to do something, I do it the way I want to.
I no longer believe in catalysts* because they are the beggars of slaves.
At present the world is peopled by slaves, and catalysts are still around.
I’m not interested in power or career; only myself and the world.
I can do little, very little.
I’m battling against malice and competition.
I cannot escape the reality I see.”

Marisa Merz, Come una dichiarazione, Bit, vol.II, n.1 March-April 1968.

(*catalyst, the prime agent of any change or action.)

MARISA MERZ, Untitled 1968. Nylon thread, nails.

Despite her official position in Arte Povera’s historical dress, I want to unravel this ninety year old Italian artist from any cocoon. Just her and reality around her in Turin, from what I remember, also around me in Milan, the same years when she was knitting little nylon shoes like clouds ready to fly, joining the green of the grass to the light blue of Northern sky, as if colors did make the shoes for a walk in the void. Mid sixties. I was wearing comfortable boots to run faster during the police-student confrontations. I was a philosophy student, and clouds were in my brain.

No wonder Marisa Merz dislikes catalysts, they were nailing our minds to ideological boxes, heavy like lead, separating the mind from the rest of life. Marisa was building around her an undefined space, a hole in between art and life. The same way that Robert Rauschenberg considered the adventure of painting, or of art making in every way. Doors, tables and chairs are a population of hopeless objects, condemned to only one form forever. There is not much she can do about that. But she can surround them with natural or artificial shadows to soften their rigidity, and approach them to the human touch, helping them to escape from their destiny. Sometimes the shadow materializes in knitted, transparent shadows moving squares and rectangles from the floor toward light triangles pointed to the ceiling, becoming smaller and smaller, she can do little, very little. Yet, out of her hands, stools can dream of a kite and a wooden door plays with the illusion of softness of squared empty pillows made with copper wire, as if opening a new mode of being for a door, opening and not only closing.

 

MARISA MERZ, Untitled 1976. Copper wire, nails, canvas. (detail)

MARISA MERZ, Untitled 1977. Wood, copper wire brass. newspaper. Photo: Hannah Kirby

Any connection between the art world in the sixties and seventies and the student movement was absent. And Marisa Merz seems to me now much closer to Piero Manzoni personal mythology than to the Arte Povera heroic answers to the growing search for perfection and technocracy — rationality in modern societies turning into sickness. Although married to Mario Merz, the sculptor who built powerful forms like bubbles of thought impenetrable to the viewer’s body, Marisa kept her feminine instinct intact. Yes, her tables wrapped in veils bring a sense of isolation, although adding, at the same time, the absurdity of a dream that could be of freedom, or just of care. Her little sculpted heads look at the sky. Humans are the invisible bodies dissolved around her pieces, leaving their scent.

MARISA MERZ, Untitled, 1977. Table, copper wire, flower, metal rods.

MARISA MERZ, Untitled 1975. Nylon thread, iron.

MARISA MERZ, Untitled 1975, Iron wire, copper wire.

 

 

 

 

 

 

 

The more we are immersed in ourselves, the more we are open; when we approach the earliest signs of our totality, we also approach everyone else’s totality. The difficult task is to liberate ourselves from foreign and superfluous things, facts and gestures that pollute the compact units coming from the art of our days and easily becoming the emblems of artistic fashions.”

Nebulous memories from childhood, impressions, abstractions, sentimentalisms, deliberate constructions, pictorial symbolic or descriptive intentions, fake anxieties, undigested unconscious events, the perpetual hedonistic repetition of already explored subjects: these are things to be discarded. The process of revelation and elimination releases our original quality in the form of images: images that are primary, and the ones of our time gushing out from the same point, for us and our civilization. Nothing must be avoided to accelerate the emergency, the urgency of acquiring our own gestures.”
PIERO MANZONI, Prolegomeni all’attività artistica.

MARISA MERZ, Head, Testa, 1984-95. Unfired clay, was, tin, lead, steel table. Photo: Hannah Kirby

A point in time: the soil suddenly trembling under my feet trodding on the sidewalk from Piazza Fontana to Piazza del Duomo, in Milan, on December 12, 1969. The bomb’s explosion didn’t make much noise. It was behind me, where 13 were killed and 88 injured. I was not one of them by only a few seconds. I didn’t turn, a wave of danger pushed me quickly walking away toward the Dome, my heart beating fast. It was like wearing Marisa Merz’s green shoes, and feeling the nails. In minutes, the place was filled with ambulances.

A few days after, the daily paper reported that Giuseppe Pinelli, a well known anarchist, had fallen from a window at the police station. He had been accused of placing the bomb. A dead angel to me. As many of my friends, I used to go to his house where his wife Licia typed academic papers for us. We were bad typists, I still use two fingers. Two little girls running around us. It was an odd time, of idealism killing people. As if the amazing theories we had tried to digest had turned fleshy, back to their sprouting from vital organs, and were made softer, gentler by human frailty. The empty carcass of words crashed with the anarchist body on the asphalt, after the flight through the void. What happened exactly, we never knew. Except, Pinelli was innocent.

MARISA MERZ, Small Head, Unfired clay

We did not know that artists had turned our precious thoughts into metaphors, actions, questions about human identity, as effectively as our philosophical castles. Marisa Merz, for instance, worked on our broken threads, moving the line into hand made, often knitted objects. They embody flexibility, adaptation. They bring a soft hand on reality.

PIERO MANZONI, Catalogue of the exhibition at Musee d’Art Moderne de la Ville de Paris, Milano, Arnoldo Mondadori Arte,1991

Zero to Infinity: Arte Povera 1962-1972, Catalogue  of the exhibition organized by  the Walker Art Center, Minneapolis, and Tate Modern, London. 2001-2003

Objects of a dysfunctional time: PETER SHIRE’s TEAPOTS

At MOCA Pacific Design Center, Los Angeles

 

MUSICAL, WHISPERING VOICES

 by Rosanna Albertini

Photos: Hannah Kirby

One can look at them naked, or encrusted with the shells of futurism, art deco, Milanese design, post modernism, California surrealism, like the door of a lobster cage. I would prefer to put all the verbal definitions into a fishnet and throw them deep into the ocean. The abandonment of the teapots to themselves “is an act of generosity,” as Mario Merz would say, “deciphering is the will to die.”

They are sirens these teapots singing the music of colors and forms: an endless, nostalgic song longing for water. Their nose too big, too long for their body, and the body shrunk like a musical instrument, or borrowing heaviness from a building, or eternalizing a fruit that tries to preserve the beauty of a flower and misses the branch moved by the wind. The teapots know there is no use for them. They are sculptures, born from an artist who likes to lie on the void, trying to forget rules and all the rational roads to understanding. Search for beauty is a source of anxiety.

“to orient
not to compel
to orient
in architecture
as in sculpture
like in a drawing of oriental vocal sensibilities
that is to say musical”
— Mario Merz

“All value depends upon somebody else’s opinion. For it is the essence of this philosophy that things have no independent existence, but live only in the eye of other people. It is a looking-glass world, this, to which we climb slowly; and its prizes are all reflexions. That may amount for our baffled feelings as we shuffle, and shuffle vainly, among those urban pages for something hard to lay our hands upon. Hardness is the last thing we shall find.”
— Virginia Woolf

That’s why there is no futurISM in these teapots, no celebration of civil and warlike mechanical machineries expected to pierce the present with energy, violent breaks, and, at least verbally, to introduce hardness. Instead, the teapots are a whispering voice, like the French and Italian words avenir, l’avvenire. From the late Latin ad-venire.

I find their softness and I don’t know what it is that touches me, unless what I like is just the uncertainty about what they are. They are displaced and useless, but searching for their face to face with us. The human side which is in them, the artist’s making, meets other humans in a present which is constantly coming to be, fleeting and incapable of standing as an accomplished future. Displacement is everywhere: between words and things, dreams and reality, thinking and making. What a dysfunctional time!

And yet, I miss stroking them, giving them a caress. I can only send them a philosophical caress, the most beautiful I found.

“The caress doesn’t know what she looks for. Such ‘not knowing’ such fundamental incongruence, is essential.” “The caress is waiting for a pure time to come, time without a content. She is made with growing hunger, and more and more enticing promises, which brings new perspectives on the things we cannot grasp.”
— Emmanuel Lévinas

Mario Merz, Lo spazio e curvo e diritto, Firenze, Hopeful Monster Editore, 1990

Virginia Woolf, The Common Reader, London, The Hogarth Press, 1935

Emmanuel Lévinas, Le temps et l’autre, @Fata Morgana, 1979. First edition February 1983, PUF, Paris.

 

MOTHER AND DAUGHTER

Yves Trémorin’s HOMMAGE à L’OMBRE – IN PRAISE of SHADOW

by Rosanna Albertini

Ce n’est pas l’indifférence qui enlève le poids de l’image … c’est l’amour, l’amour extreme.
It is not indifference that lifts the image’s weight … it is love, extreme love.
(Roland Barthes)

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Photographs by YVES TREMORIN
from two series: Mother and Daughter and Mystic Garden

I will never know if the name of things is stronger than their physical presence, if it adds meaning to the surrogate images of what’s naturally ‘visible.’ I’m not even sure that the best photographs and films are meant to reassure our mind about the truth of what we see, for instance.

Yves Trémorin, magic fisher and maker of images in Saint Malo, Bretagne, often gives me the impression he’s taking details from bodies he loves as if he had his eyes closed, and in such way he could let the details escalate his mental touch, his effort to capture the unique, ungraspable presence of women he knows, from which he was born. It’s a fact.

He photographed his grandmother in 1984, when she was ninety-one. And his mother now, in 2017, ninety-one years old. Right now, their images share the same age, look at them now and here they are: mother, daughter. A son looks at them, reveals the power of their nameless presence: women, first of all.

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They are living molecules of vision. There existence, like the stem of a flower, a leaf wrinkled by her journey through life. If natural existence is the subject, their body, a female body, finds a powerful stance in the space of art. If it is nor clear who’s who, as they are both mother and daughter, we focus, instead, on their appearance surrounded by shadows, by all the stories and times that we do not know that feed their images and were their lives. We start dreaming about those images: the woman lost in her flowered dress comes from mythological times, she is Eve in her old age, still offering something mysterious, not an apple, it can be a piece of bread or a snake. She smiles. Would you take it?

cette_femme_006

Existence in art is artificial, construction and translation. Also in photography: “an art which is not certain, and is as uncertain as science would be, were it working on desirable or despicable bodies … impossible science of unique beings.” (Roland Barthes)

The artist is an eye, a ear, a nose, so is the viewer. Suppose things abandoned by names, and you will have a landscape of anonymous presences. The only reality they have is the perceived present: for them there is no such thing as the future. Don’t forget the person behind the camera. He explores the shadows: his profile projected on the wall repeats his mother profile. The two shadows face each other in silence; we close the eyes, it stays in us.

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The best images I keep of my mother are not photographs. Her beautiful hands, the shape of her feet geometrically perfect because the middle toe was longer than the big toe, as in the Greek statues, are printed in my mind and bring back my extreme love for her along with a blow of darkness. Her past life shakes me, unrequested.

By the way mother, were you a virgin when you got married and immediately conceived me? As long  as you were alive, I never felt we lived on the same planet, although our bodies were unmistakably shaped in the same mold and your round shoulders made me always think of Helen of Troy. I don’t want you to be blamed forever as she has been, am I the only one in the dark? Perhaps something was muddy in your husband, father of mine. He did not go to your funeral, never puts flowers on your grave. Love must have been a needle with a thread in the eye: day by day sewing through the hole of the mood, to fix a fabric incessantly yielding. Please don’t pinch me, stories begin with a phantom.

A couple of new leaves on the cumquats shake their greenness to the morning, like wings getting ready to take off. A phantom flower blooms in my mind, it’s for you.

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Roland Barthes, La chambre claire, Note sur la photographie, Gallimard, le Seuil, 1980

EILEEN COWIN: MAD LOVE n. 3

Text by Rosanna Albertini

 

EILEEN COWIN, From the series Mad Love, Courtesy of the artist

EILEEN COWIN, Untitled from the Mad Love series,  2014    5.5″ x 8.2″                  
Courtesy of the artist

I lost my mother!
The young man sits at my left side on the bus, dirty nails ―in Italy we say che porta il lutto al gatto, that he is mourning the cat. At least mentally, he could cling to the window but he doesn’t. Medium long, greasy hair covers half of his face. His head and face are nothing noticeable except for the voice, a harsh sound like a badly played violin cord. The traffic from Westwood to Wilshire Boulevard makes the bus an island on wheels shaken between dry waves. The exhaust stinks whatever the brand. I can barely think, the inside air is cooled down and stays dirty, perspiration mixed with fragrances sent off from shoes, Mexican cooked beans’ flavor hidden in plastic bags and the stale breath of sleepers.
The young man decided for me that I shouldn’t get lost in my own thoughts, the brain lulled by dreams of clean air. And the story began as if he were the girl and I the pasha, in the thousand and one days of Los Angeles. Once upon a time there was a boy from the midwest. He now works at the Trader Joe’s.

Why did you come to Los Angeles?
My boy friend lives here.
And your mother?
She just died.

It was like to lie across a bare road erased from the map. Right, mother left us here to float in finitudes. Why my brain insists on thinking? Drawing parallels and circles? Adam and Eve lost the Paradise, so we keep falling, far from happiness and perfection. The young man didn’t look distressed. His hands, though, were agitated in a continuous finger torture, his nails could break.

She died and was cremated and I brought the ashes to Los Angeles.
Yes?
And I went to a restroom. It was this morning. And somebody robbed my backpack, I had put it on the sink. I tried to grab it back, I was not strong enough. Mother was in the back pack. I lost her.

Feelings brushed against me like branches of biancospino, a prickly spring bush so full of white, tender flowers that thorns disappear covered by petals. Good to look at, without touching. I couldn’t avoid sympathy for my traveling companion. Keeping visible my  understanding, payed attention not to mingle with the personal spines surrounding his hands like a crown. Besides, my own spines started to fill my talking throat: whatever one says, go to the beach, take it easy, sounds so hypocritical, a screeching noise.

       If it wasn’t for the ashes transported in it, the backpack would have disappeared from his memory like the semi-transparent and light bags we bring home from the market filled with salad and carrots. Empty, they would fly far away, toward the faded circle of the moon still visible in the morning, a white ghost on the blue of the sky. They would be like moon lovers lost in her distance. The young man’s love for his mother, maybe, was no different. Dead, converted into ashes, she is so close to him he doesn’t know what to do with her. To know her wasn’t the point when she was standing on earth, for love had nothing to do with knowing and that was normal. But when it comes to death, he cannot get rid of something that looks like awareness, and it is not. It’s only the violent storm of all things never known about mother, an enormous empty ghost of memories that had been missed, or maybe, never existed.

Sitting next to him, I was daydreaming a chain of absurdities:  breakfast with ashes on the table, bus with ashes on the shoulders, ashes at Trader Joes underneath the check out counter, than home again. Mother’s ghost glued to his back. I was not really surprised, since I carried my mother inside my body for months, after she passed away. Almost an unspeakable feeling. The lost backpack made me smile.

Vladimir Nabokov:
“Hullo, person! Doesn’t hear me.
Perhaps if the future existed, concretely and individually, as something that could be discerned buy a better brain, the past would not be so seductive: its demands would be balanced by those of the future. […]
But the future has no such reality (as the pictured past and the perceived present possess); the future is but a figure of speech, a specter of thought.
Hullo person! What’s the matter, don’t pull me. I’m not bothering him. Oh, all right. Hullo, person . . . (last time, in a very small voice.)
When we concentrate on a material object, whatever its situation, the very act of attention may lead to our involuntarily sinking into the history of that object. Novices must learn to skim over matter if they want matter to stay at the exact level of the moment. Transparent things, through which the past shines!”*

 

EILEEN COWIN, From the series Mad Love, Courtesy of the artist

EILEEN COWIN, Untitled from the  Mad Love series, 2014   5.5″ x 8.2″
Courtesy of the artist

*VLADIMIR NABOKOV, Transparent Things, @ 1972, New York, Vintage Books, First Vintage International Edition, 1989

SMART DEAR PLATITUDES

by Rosanna Albertini

About THREE FUNERALS AND SOME ACTS OF PRESERVATIONS

a film by JUDY FISKIN, 2016

It’s a film because images move, but after months of simmering this art piece in my mind, now I see it as visual music, very much as John Cage’s Sonatas and Interludes: simple as dripping water, unassuming textures of reverence for a life we cover as a mysterious distance.

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How not to be elusive about death? How to be personal and elusive, personal and intuitive, wearing a dress of courtesy, some hints of humor. Judy’s film is a visual score. Lines of people moving horizontally and of cars rolling on the freeway. Notes are replaced by stories in a natural flow from which rough edges are smoothed out.
One funeral at the beginning, two funerals in the end, and stories of physical care in the middle: the statues’ maintenance.

That’s Fiskin’s quite unique art: to keep courtesy in the face of death. To clean the artwork of most intellectual rules, making art like a veil lifted from life, tied around her face often laughing at modernist obsessions, maybe at any kind of mental constructions. How long do they last? Is there knowing or believing?

Time is the body of films and music. Images and sounds are surfers in a pond of time, they exist as a savor, a perfume. We can only “integrate that savor into the fabric of our own identity.” George Steiner*

Once we have arrived to a certain life degree, by experiencing and understanding other humans, every relationship, even with our wisest or lovely friends, is only valuable in the atmosphere soaking them completely; and conversations, profound as they can be, have lost the power to give us intellectual happiness; they rather work in us like musical melodies.” Arthur Schnitzler**

 

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In the film, the sculptures by Isamu Noguchi, Henry Moore, Arturo Martini and others artists of the modern era (only with the exception of Charlie Ray), scattered in the gardens of the Getty Center, are washed and dried as if the Getty Museum conservators’ hands engaged in a caress because they must. There is no love, just periodic maintenance. The sculptures are rigid and heavy forms from day one, corpses. Don’t be mistaken. Judy Fiskin presents them as a trickster would: shiny, perfect, wonderful images that vanish through time. Death is the cord that ties them all, one more string of the music. I remember Homer: shoulders and muscles described as the pride of the living hero, seen at once like future shadows, lifeless, as if Achilles and the other warriors were already dead. This was then, in the ancient times, but now? Art history is a strange museum by itself, calling for veneration, offering exceptional and surprising specimens… do we really care?

 

Three Funerals and Some Acts of Preservation 2016_fade up-2

 

In the countryside house where I was born there was a bronze, the head of Jesus sculpted by a local artist, maybe Celeste was his name but I’m not sure. Jesus was sad. When grandfather died, I was seven, the family put a pillow embroidered by me under his head and the bronze on his grave. It is still my favorite sculpture. Facing death, Jesus was hiding his deep feelings, had a quiet expression. I can still see that face as I think, my eyes open. Grandfather used to say that life is so marvelous, something must continue after the threshold is passed. It was faith in a non religious artist.

Judy Fiskin lights a dim lamp at her window. People and words and images are a simple parade of acts and speeches we modulate without thinking in our daily journey. Common senses, platitudes. I’m not the first naming the aesthetic of courtesy, George Steiner is the master, but as far as I know very few artists of our time place this secret, inner feeling at the core of their work as Judy does. I love it because it’s not only about her, it unravels with grace the way she addresses the viewers, all of us. We are in her she can be in us. Platitude is not flatness, it is life as it is, true and fake, modest and grandiose, a little scary, mostly impossible to fish by words. Not without values.
Civility, courtesy and kindness in these days more reliable than truth.

JUDY FISKIN,Three Funerals and Some Acts of Preservation, Film, 2016 (excerpt)

*George Steiner, Real Presences, The University of Chicago Press, 1989
** Arthur Schnitzler, Relations et Solitudes, Aphorisms (Original title: Beziehungen und Einsamkeiten, 1967) Editions Rivages, translation from German by Pierre Deshusses, Paris,1988. Translation from French of this quote by R.A.