THERE’S A SUCKER BORN EVERY SECOND
After laughing, coughing, cutting, burning, touching and screaming–breathe. Inhale the actions you live every day. Record your most familiar thought–the one you so often have but never do. This thought is a good idea. Trade it with someone for a piece of a second they wish to forget. Exhale your idea. Inhale their memory. Live in the piece given to you–imagining the entirety of the second that surrounds it–while its supplier holds your thought and makes it concrete.
“If ever a second of this footage is used without our consent, we’ll have to have another conversation.”
“I never signed anything, but promise the tapes won’t show up anywhere.”
Such dialogues often devolve from there. The moments we remember via the media we make are pre-commodified. That they should exist solely as artifacts of what Fluxus Movement founder, George Maciunas, described as “Non-Art Reality” is unbelievable. It confounds those who have made professions of spectacle and habits of profiting from it. Contracts, releases and agreements now define the digestibility of the experiences we consume before we so much as lift our forks to them. Maciunas described such commercial “bourgeois sickness” as EUROPANISM. He prescribed inclusive, democratic actions and editions as creative vaccines against it.
Fluxus participant, Yoko Ono, in her 1964 book, Grapefruit, playfully urges the readers of ‘COLLECTING PIECE II’ to place someone on a stage and examine them: weighing, measuring, counting, questioning, dismembering, burning and ultimately–recording. The question of what is to be recorded is open-ended–the performer, the observer and the process each equally valid subjects. The challenge in the seventh-step of ‘COLLECTING PIECE II’ is in making a recording with the same ambivalence expressed while counting and measuring.
Actively constructing objective recordings is difficult. Recordings are reflections of impressions etched on observers by a world perpetually demanding remembrance. Recordings are both the ways we’re bruised by the things we are and the burns that scar what we compulsively remember. The most beautiful recordings are those whose subjectivity screams so subversively that not a ripple of agenda disrupts the placid illusion of their objectivity.
THERE’S A SUCKER BORN EVERY SECOND is a 24-frame memory-scar–a silent one-second performance of ‘COLLECTING PIECE II’. In the guise of a series of freely exchanged t-shirts, SUCKER re-contextualizes a VISITOR-made recording to weigh the history of its subject; presenting her dismembered–24 times–while the conviction of her words is questioned and their meaning measured. SUCKER deconstructs a forbidden moment of Non-Art Reality in the interest of enticing its viewers to channel the radical energy of its subject’s work, Grapefruit. Inciting both thought and action while re-examining how willing a collaborative public is to participate in burning idols, SUCKER presents a conduit through which participants’ good-ideas are exchanged for conceptually commodified Yokos.