London: Roeluf Louw

CERTAIN RECENT ART HAS GIVEN rise to a new critical criterion: whether and how a work compels in the spectator a recognition of the reality of other people. While in London last January I met Roeluf Louw, an artist who is dealing with this issue as directly as anyone I know of in New York. Louw’s new work relies on tape recorders and scripts which he devises for their use.1 A typical arrangement would be his Tape Recorder Script #7 which calls for four machines placed in a square on the floor at about 4’9” intervals. The script reads as follows: “At each tape recorder, within a confined area, a different participant is to move around for 18 minutes at any pace or varying pace. At requisite intervals, in accord with the way the participant feels, reports are to be made in a negative, indefinite, or affirmative manner.” Most of the scripts call for specific reports of position and intention;

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