Rachel Valinsky

• 

  performance November 24, 2021

  Test and Trace

  STRANGE THAT IT'S BEEN years since I last saw live performance. But everyone was exclaiming this now-familiar platitude as they busily embraced on the sidewalk at the intersection of Rivington and Orchard the past October, during the collective reunion which took as its backdrop and pretext Kevin Beasley’s The Sound of Morning. The first of eight commissions realized for this year’s Performa Biennial, the performance began almost unnoticeably. One of Beasley’s collaborators flung a deflated basketball into the air; another began methodically disassembling a black metal barrier that had been

• 

  performance June 17, 2020

  Talk to Me

  THE ARTIST’S TALK CAN BE A DULL AFFAIR: a PowerPoint presentation attesting to careerism and credentialization, an exposition of past and current projects and institutional engagements, uninspired commentary by an artist who seemed fascinating at a distance. The contemporary circuitry of MFA visiting lectureships alone harks back to the form’s origins in academic professionalization, which has largely become a requirement for critical and commercial success despite the unbearable (and unjustifiable) burden of graduate school tuition. Born out of boredom with this standardization of the lecture

• 

  performance December 04, 2019

  Action Figures

  NOVEMBER WAS THE MONTH of overscheduled evenings, stacked with events sprawling across three weeks and forty venues for the eighth iteration of Performa. The brainchild of RoseLee Goldberg, the biennial has since 2005 promoted the field of performance art as a coherent subdiscipline of the visual arts, drawing on histories of the avant-garde to firmly tie the field’s lineage to art history. In fact, it is Performa’s habit to produce new commissions undertaken by visual artists with little experience in live media (at the expense, often, of supporting practitioners already active in this domain),

• 

  performance November 11, 2019

  Kosmic Inflation

  “YOU HAVEN’T GIVEN UP / ON A WORLD HAVE YOU?” asked Bernadette Mayer in the epilogue to a slim volume of poems titled Utopia (1984). “You know traditional utopias are no place / as ours will ever be,” she continued, entreating whomever so wished to “add all you would to / what is already here / together we will put / things on paper that / ‘ve never been there.” Mayer found utopia in social formations, love, and friendship, playfully staging its trials and tribulations in the pages of her book. Utopian thinking, both as narrative conceit and as practice of social imagination, similarly informs