“All the Pills” recounts all the pills I have taken in my life for mental disorders – depression, bipolar Type II, brief psychoses. When I began in 2011 I had estimated the total to be around 25,000. In the performance I simply list the scientific name and quantity of a medicine that I have taken for mental disorders, and I empty that quantity of empty pill capsules on the table or floor in front of me. At the end of the performance I sweep all the pills back into a bucket, into which I invite the public thrust their hands to feel thousands of pills against their skin. I finish by pouring the bucket over my head.”
“Performance Sites: Epipiderme, Lisbon, Portugal, Second Jornada de Arte de Acción de Pumarejo, Sevilla, Spain, Dimanche Rouge Barcelona Edidtion, Barcelona, Spain and Life Bloody Live, Galerie Moretti and Morretti, Paris, France.
“Vocabulary” questions the language we are induced to use when discussing art. I went to the bookstore of the Museum of Contemporary Art in Barcelona (MACBA), to the section on ‘Theory’. I read widely and broadly, noting commonly used terms and especially those with a common meaning lifted to new heights by the artistic vocabulary (Text, for example). I wrote all these words in large format across a scroll of paper, and read these aloud as though they were one continuous sentence, until they meant nothing. I poured blue paint of a tone approximating Klein International Blue over my head, then intervened in the scroll with my painted body. I ended by burning a portion of the paper in a metal bucket.
Performance Sites: Second Jornada of Action Art of Pumarejo, Sevilla, Spain, Soapbox Performance Art Salon, Hillyer Arts Space, Washington, DC
From January 15-29, 1972 in the Sonnabend Gallery in New York artist Vito Acconci masturbated all day hidden beneath a wooden ramp. On February 19, 2013 in the Spanish Cultural Center of Santo Domingo, I faked sexual excitement and orgasm beneath a long dining table at which were seated 4 members of the public, selected at random. I meant to question some of the patriarchal and masculine assumptions latent in ‘Seedbed’ by opening a space to examine faking orgasm, as a strategy of feminist resistance.
Performance Site: Cultural Center of Spain in Santo Domingo
Photographers: Manolo Vidal, Rosangie Garcia, Peter Grzybowski